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ANCIENT MARBLES

IN GREAT lUUTAlN

UESCKIIiKU 1!V

ADOLF MICHAELIS,

I'll. I)., I'KOrESSOR OK CLASSICAL ARCHAEOLOOY IN THE U.MVEKSITY
OF STRASSBURC.

TRANSLATED FROM THE GERMAN

C. A. M. FENNELL, M.A.,

LATE FELLOW OF JESUS COLLEGE, CAMBRIDGE.

EDITED FOK THE SYNDICS OF THE UNIVERSITY TRESS.

CambriUge:

AT THE UNU'ERSITV PRESS
1S82

f"/

®&xtAx[\i%t :

PRINTED BY C.J. CLAY, M.A. & SON,
AT THE UNIVERSITY PRESS,

TO MY BELOVED FRIEND

GEORGE SCHARF, Esq., F.R.S.L., F.S.A.

MEMBER OF THE GERMAN ARCHAEOLOGICAL INSTITUTE,
DIRECTOR OF THE NATIONAL PORTRAIT GALLERY

THIS WORK IS INSCRIBED

IN GRATEFUL REMEMBRANCE OF MANY HAPPY DAYS
SPENT UNDER HIS HOSPITABL_: ROOF
1861, 1873, 1877.

THE AUTHOR'S PREFACE.

The object of the present work is to supply
archaeologists and those interested in archseology with
more complete and accurate information than has
hitherto been provided concerning the treasures of
ancient sculpture, stored up in the galleries of Great
Britain, the abundance and excellence of which appear
to be but little known in detail, notwithstanding that
they are admitted in general terms.

In order to guard against erroneous expectations,
it should be borne in mind that the title " Ancient
Marbles " does not imply antique sculptures of every
description, but only the relics of Greek and Roman
origin which have been imported into Great Britain
from classical soil. I have accordingly excluded
Egyptian and Oriental art as well as the Anglo- Roman
remains found in Great Britain. Whatever the book
may contain not included within the limits of the above
definition, must be looked at as an accessory which, I
venture to hope, will at least not be troublesome to the
reader.

For obvious reasons no catalogue is given of the
Sculptures preserved in the British Museum. With
the exception of the few Museums of a public character,
such as those in Cambridge and Oxford, private
galleries therefore have supplied the main part of

VIll THE AUTHOR S PREFACE.

this catalogue. Everybody knows, how widely spread
they are over the country, though perhaps few are
aware how difficult it is to get information about
them, much more to obtain such access to them as
shall enable a visitor thoroughly to examine the works
of art, without being at every moment disturbed by the
impatient noise of the housekeeper's keys. But the
greatest of all hindrances is the want of good cata-
logues or other literary means of general, as well as
special, preparation and instruction. Up to the present
day the Student had to depend chiefly on James
Dallaway's Anecdotes of the Arts in England (1800),
however superficial and antiquated the book may be.
The French translation published under A. L. Millin's
authority, Les Bemix-arts en Angleterre (1807), added
nothing of consequence, the editor not having himself
visited the collections. Nor did Dallaway's own re-
vised edition, which appeared in 18 16 with the title
Of Statuary and Sculpture among the Anciettts, though
it was enriched by useful additions, materially alter the
unsatisfactory character of the book. A selection only of
particularly remarkable monuments is contained in the
splendid volumes published by the Society of Dilet-
tanti, the Specimens of Antient Sculpture, selected from
several collections in Great Britain (1809 and 1835).
If we add a few special publications, some of them
scarcely accessible to persons most interested in their
contents, such as the works on the Oxford Marbles
(1763), on the Museum Worsleyanuni (1794), on the
Ince collection (1809), on the Marbles of Woburn
Abbey (1822), on the Museum Disneianum (1849), and,
last not least, Prof. Newton's valuable Notes on the
Sculptures at Wilton House ( 1 849), we should exhaust
nearly all that has been done in England itself to-

THE AUTHOR S PREFACE. IX

wards our special knowledge of those treasures. The
greater are the thanks due to the late Count Clarac,
who, after a personal inspection in 1833, employed Mr
Brotherton to make drawings of the Statues in the
most important private galleries, which he incorpo-
rated in his copious Musc'e dc Sadpture (vols. iii. — v.,
1832 — 1841). Unsatisfactory as these sketches in
outline may be with regard to style, they still suffice
to give an approximate idea of the subjects repre-
sented. Hence Clarac's work is still one of the most
important books to be consulted on English private
collections, as far as Statues are concerned ; Busts
and Reliefs not being included within its scoidc.

Of more modest pretensions, though scarcely less
meritorious, are the observations scattered through
the writings of various travellers in Great Britain.
Older works, like those by Volkmann', Goede^,
Spiker^, may be left out of consideration, as they afford
very little valuable information. The notes published
from C. O. Muller's journals of 1822, in Bottiger's
Amalthea, Vol. in. (1825), deal onlj'^ with the collec-
tions in Lansdowne House and at Petworth. Richer
in observations and notices is the well-known book of
Dr Waagen, which was first published in German with
the title Kunstwerke mid Kiinstler in Eugla7td [i%2)7,
1838), and afterwards, in English, with the results of
several subsequent visits incorporated, as Treasures of
Art in Great Britain (3 vols., 1854), supplementary to

1 Neueste Rdsen durch England. A us den besUn Nachrichlen taid
nciieren Schriften :^usainmeng€tragcn iwn J. J. VoLK.MANN. 4 vols. Leipzig,
1781-1782. (Compiled chiefly from English sources.)

2 England, Wales, Irland und Scholtland. Erinnerungen von einer
ReiseindcnJahren\Zozund\%o2,. 2nd edition. 5 vols. Dresden, 1806.

3 Reise durch England, Wales, und Scholtland im Jahre 18 16. 2 vols.
Leipzig, 18 iS.

X THE AUTHOR S PREFACE.

which is the volume styled Galleries and Cabinets of
Arl in Great Britain (1857). Waagen, however, was
chiefly attracted by works of modern art, especially of
painting ; as to antique sculpture his eye was less
sure, his studies less extensive and thorough. The
chief value of his book, therefore, to classical archaeolo-
gists, consists in pointing out a great number of
dispersed marbles, which he had the opportunity of
observing in the course of his various journeys. Still,
it may easily be understood that his notes should have
appeared sufficiently new and interesting to be ex-
tracted, for the use of the French public, by G.
Brunet in the Revue arc/u'ologique, vol. x. (1853). The
first archaeologist, however, after Count Clarac, who, with
a full mastery of the different parts of archaeological
science, made private galleries of ancient art in England
the object of a special examination, was Alexander
CoNZE, then Professor of Archaeology in the University
of Halle. In the Arch'dologischer Anzeiger of 1864, a
supplement of the Archdologische Zeitung of Berlin, he
communicated, in the most concise form, many valuable
notices extracted from his journals. More recently a
supplement to them was contributed by the late Pro-
fessor F. Matz, to the Archdologische Zeitung oi 1873,
in which also some collections, hitherto unknown, were
first presented to the notice of the learned public.

The author of this work first visited England in
1861. But the immense riches of the British Museum
then left me little leisure to go in quest of private col-
lections, with the exception of the gallery of Lansdowne
House, a few notices of which I published in th^Archdo-
logischer Anzeiger of 1862. In the autumn of 1873,
accompanied by my friend Professor Matz, I under-
took a tour through different parts of England. My

THE AUTHOR S PREFACE. XI

attention was at that time mainly directed to Greek
Sepulchral Reliefs, that of my companion to Roman
Sarcophagi, the collection and publication of these
classes of monuments having been undertaken by
the Academy of Vienna, and by the German Archaeo-
logical Institute, respectively; but whatever time
could be spared was devoted to the examination
of antique monuments of other descriptions. The
results of these inquiries, together with such notices
as were supplied by the books of reference then ac-
cessible to me, were published in an article "On the
private collections of ancient art in England," in the
Archdologische Zeitungoi i2>j^,Y>V- i — 70- This rather
detailed sketch forms the foundation of the present
work, to undertake which I have been led, partly
by my own interest in the subject, partly by the re-
quests of friends and colleagues, especially in England.
Favourable circumstances having enabled me to be-
come acquainted with those galleries to a greater extent
than perhaps any other living archoeologist, I thought
it my duty, putting aside for some years other tasks of
a more inviting nature, to undertake the irksome,
mosaic-like work of drawing up a descriptive cata-
logue of the marbles they contain. In doing this,
I hoped also to pay a small tribute of affection and
gratitude to a country in which I have seen and learnt
much, and have formed many valuable and pleasant
personal connexions, and experienced much kindness
and hospitality. Another visit to England in 1877
helped me to complete my former inquiries.

With the exception of Castle Howard, which I
was accidentally prevented from visiting, I have
personally inspected nearly all the principal galleries.
As to the minor collections, of which often scarcely

Xll THE AUTHOR S PREFACE.

more than the name is known, it would not be reasonable
to expect that a foreigner, without any other assistance
than that afforded by his limited private means, should
be able to discover and examine them. I must hope
that the publication of this necessarily incomplete work
will stimulate others to supply its deficiencies, and I
shall be very thankful for any information which may
be communicated to me. But even of the larger col-
lections, it would have been impossible to give a full
and satisfactory account from my individual unaided re-
sources. To my friend Dr Conze I am indebted for
the free use of all his original notes. The papers left
by the late Professor Matz, now the property of the
German Archaeological Institute, supplied a consider-
able number of drawings and descriptions, particularly
of Sarcophagi. Prof. Bernoulli of Basel, liberally
complying with my request, placed also at my command
all the notes he had made during a visit to England
in 1875, which, as they chiefly concerned busts and
other portrait sculptures, formed a most valuable sup-
plement to Conze's, Matz's and my own notes. In the
case of articles which are not founded upon notices
made by myself or by my friends (indicated by B, C, M,
see p. 210), the notice is borrowed from the special
catalogue or from one of the other books quoted at the
top of each collection ; in these instances, of course,
I should not be made responsible for blunders which
may occur. The measures are throughout given in
metres and centimetres. Full accuracy, however, can
be warranted only where either I or one of my friends
have taken them, experience having more than once
shewn that measures taken by others in English feet
and afterwards converted into metres (a foot being
equal to 0'305 m.) prove to be not quite exact.

THF. ArTHOR S I'RFFACF. Mil

The cataloiTiie itself is naturally an unconnected
series of articles, which can hardly be what is called
" pleasant reading." General readers, however, will I
hope be interested by the Introduction, in which I have
attempted to give a synopsis of the W'hole subject, and
to shew, from original sources and in connexion with
other historical incidents, in what manner and to what
extent Peacham's saying about the transplanting of
old Greece into England has been realized.

It should be added that the manuscript of my book
was finished in October 1878, and the delays incident
to the processes of translation, printing, and revision
will explain why in the later portions of the work books
have been consulted and other additions made, which
refer to the last year or two, and which could not find
place in the former parts.

There remains the agreeable task of acknowledging
the assistance I have experienced in the course of this
work. My thanks are due, in the first place, to the
possessors of many of the collections here described.
Though nearly unprovided with introductions, and
o-enerally obliged to risk a bare personal application,
I feel bound to state that with a very few exceptions
my applications to visit galleries met with a courteous
permission. I must deprive myself of the satisfaction
of naming individuals who have shewn me special
kindness, lest I might seem ungrateful towards others.
For much aid and many hints I have to thank the
officers of the British Museum, Prof. Newton. Mr
Franks, Mr Poolf^ and Mr Murray; and also Mr
DoYNE C. Bell, in London, Mr Holmes, at Windsor
Castle, and Dr Acland, of Oxford. To the Rev.
Alexander Napier, of Holkham, I am indebted for
his effective advocacy of the publication of this work

.M. c. '■

XIV THE AUTHORS PREFACE.

by the Syndics of the Cambridge University Press ;
to Mr C. A. M. Fennell for undertaking the heavy
and irksome task of translating a volume of such a size
and nature ; to Prof. Sidney Colvin for the pains he
has bestowed on the revision of the translated text and
on the superintendence of the illustrations. In the
revision of the text I have had the further advantage of
the skilled assistance of Prof. Newton and Mr Murray.
To all these gentlemen I gladly proffer my sincere
thanks. Lastly I desire to express my cordial gratitude
to my dear friend Mr George Scharf, whose richly
furnished library, extensive knowledge, unremitting
goodness, and kind interest in my plans and pursuits,
have been to me of invaluable assistance. It is
my earnest desire that my friend may accept the
dedication of this dry, but, I hope, not useless work,
as a token of my true and sincere affection and a
memorial of some of my most precious associations
with Engfland.

Strassburg, June, \l

TA15LI': OF CONTENTS.

The Author's Preface vii

Table of Contents xv

List of Plates and Woodcuts •••■.. xix

Geographical Directory xx

Errata and Addenda xxi

Introduction, on the Influx of Antique Sciilptuurs into
Great Britain.

Preliminary ,

I. The Arundel Marbles and other early Collections.

I. No antiques in England in the i6th century. — 2. Henry, Prince of
Wales. — 3. Lord Arundel's tours in Italy. — 4. His Italian mar-
bles.— 5. The country of Greece. — 6. Sir Thomas Roe in Con-
stantinople.— 7. William Petty. — 8. The Duke of Buckingham. —
9. Roe's and Petty's joint plans. — 10. Arundel and Buckingham.
— II. Petty's activity. — 12. Roe's efforts. — 13. Buckingham's mar-
bles. Other collectors at Court. — 14. Peacham's Complcat Gen-
tleman.— 15. Lord Arundel's Greek sculptures. — 16. Increase of
the collection. Its rising fame. — 17. General view of the Arundel
collection. — 18. King Charles I.'s collection of antiquities. —
19. Vicissitudes of the royal collection after 1649. — 20. The Arundel
collection during the Revolution. — 21. The neglect thereof The
inscriptions presented to Oxford. — 22. Dispersion of the whole
collection. — 23. The coins and gems. — 24. The Pomfret marbles.
— 25. Thomas, Lord Pembroke. — 26. The Mazarin collection. —
27. The antiques in Wilton House. — 28. Sir P. Lely, Lord Win-
chelsea. Lord Carteret, J. Kemp. — 29. Dr Mead. — 30. Conyers
Middleton. Collectors of coins. W.Courten. HansSloane. — 31. The
Duke of Devonshire .......... 5 — 5^

II. The Golden Age of Classic Dilettantism. Rome and England.

32. Travels to the South in the time of the Stuarts. — 33. The fashion of
the 'grand tour.' Sir A. Fountaine. Lord Burlington. — 34. Th.
Coke (Lord Leicester). — 35. Lord Carlisle, Lord Bessborough,
Duke of Beaufort. — 36. Other travelling collectors. The Richard-
sons. — 37. Foundation of the Society of Dilettanti. — 38. Activity of
its members. — 39. State of things at Rome. Foundation of the Capi-
toline Museum. — 40. Dealers and restorers. Cavaceppi. — 41. Perry,
the Walpoles, HoUis and Brand, and smaller collectors. — 42. Lord
Leicester. — 43. Lord Egremont. — 44. British artists in Rome. Gavin
Hamilton. — 45. Thomas Jenkins. — 4^. Ilis practices. — 47. His

TABLE OF CONTENTS.

purchases of antiques. — 48. Hamilton's and Jenkins' new excava-
tions.— 49. Results. Restorations. — 50. King George III. The
Duke of Marlborough. — 51. British travellers — 52. Lyde Browne.
— 53. Lord Palmerston, Weddell, Gen. Walmoden. — 54. Locke,
Duke of Richmond, Buncombe, Jennings, Lord Exeter, Lord
Yarborough, Lord Cawdor, &c. — 55. Founding of the Vatican
Museum. — 56. Competitors from other quarters. Chailes Townley.
— 57. Townley in London. — 58. H. Blundell, — 59. Smith-Barry,
Mansel-Talbot, Sir Thomas Robinson, Duke of Dorset, Sir G.
Strickland, Lord Temple, Duke of St Albans, &c. — 60. Lord
Shelburne (Lansdowne). — 61. Thomas Hope. — 62. The Revolu-
tion in Rome and its consequences. Earl of Bristol. — 63. William
Hamilton and his first collection. — 64. Sir W. Hamilton's second
collection. — 65. Relations with Greece. — 66. Sir Richard Worsley.
— 67. Morritt, Lord Aberdeen, Clarke, Rob. Walpole, Hawkins.
— 68. Payne Knight as a collector. Lord Northwick. — 69. Payne
Knight as a litterateur. The Specimens of Antient Sculpture.
— 70. J. Dallaway. — 71. Sales. Increase of the British Museum 55 — 12S

III. The British Museum and the Private Collections, Greece
AND England.

72. Travellers in Greece : Dodwell, Gell, Leake. — 73. Cockerell and
other architects. Bassae. — 74. Lord Elgin's undertakings. — 75. The
new Firman and its consequences. — 76. Transport of the marbles
to England. — 77. Opposition to the Elgin marbles. Payne Knight.
— 78. Champions of the Elgin marbles. West, Fnseli, Haydon.
— 7g. Attempts to sell the collection. Lord Byron. — So. Foreign
aid. Visconti. Lord Elgin's renewed proposals. — 81. The Phigalia
marbles. Canova's visit. Select committee. — 82. Deliberations of
the committee. Literary warfare. — 83. The purchase of the Elgin
marbles for the British Museum. — 84. The activity of the Society of
Dilettanti.— 85. Minor collectors. Westmacott, Rogers.— 86. The
Duke of Bedford. — 87. Collectors at Rome. Dnke of Bucking-
ham, Lord Kinnaird, Disney, &c. — 88. Sir William Temple.
Collectors at Athens : Lord Guilford, Burgon, Lady Ruthven. —
89. Other collectors in Greece : Lord Strangford, Borrell, Wood-
house. — 90. Collectors in London : Edwards, Burke, Chinnerj',
Sir J. Coghill, Sir H. Englefield, Sir J. Soane, Slade, Gen. Fox.
— 91. Decline of classical dilettantism. — 92. Additions to the
British Museum. Fellows. Sir Stratford Canning. — 93. Discoveries
of Newton, Wood, Pullan.— 94. Salzmann and Biliotti, Cesnola,
Smith and Porcher, Dennis, Davis.^95. Purchases of Farnese,
Pourtales, Blacas, Castellani collections, &c.— 96. Private collectors
of marbles: Lord Lonsd.ile, Cook, &c.— 97. Collectors of small
antiques : Hertz, Mayer, Forman, Auldjo, &c.— 98. Perils of private
collection — 99. Evils of private collections.— 100. Passing of
private collections into public museums 129—184

Appendix (Letters of Sir Thomas Roe) 181—205

TABLE OF CONTENTS.

Catalogue of Collections.

Explanation of some abbreviations

St Ann's Hill, Surrey (Lady Holland) ....
Castle Ashby, Northamptonshire (Marquis of Northampton)
Battlesden, Bedfordshire (D. Bromilow, Esq.) .
Eignor P.irk, Sussex (C. IL T. ILiwkins, Esq.)
Birmingham, Warwickshire (J. A. Crane, Esq.)
Blenheim Palace, Oxfordshire (Duke of Marlborough)
Boynton, Yorkshire (Sir \V. Strickland) ....
Broadl.\nds, Hampshire (Rt. Hon. W. Cowper Temple)
BRoCKLEsnv Park, Lincolnshire (Earl of Yarborough )
J^room Hall, Scotland (Earl of Elgin) ....
CAMBRIDGE—

Fitzwilliam Museu.m

Trinity College Library

Rev. C. W. King

St John's College

Canterburj-, Kent (Museum)

Chatsworth, Derbyshire (Duke of Devonshire)
Chichester, Sussex (Museum) .....
Clumber Park, Nottinghamshire (Duke of Newcastle)
Colchester, Essex (Museum. Rev. J. H. Pollexfen)
Dalkeith Palace, Scotland (Duke of Buccleiich)
Deei'DENE, Surrey (Mrs Hope)
Denton Hall, Northumberland (Lord Rokeby)
Ditchley, Oxfordshire (Viscount Dillon) .
Duncombe Park, Yorkshire (Earl of Feversham)
Dunrobin Castle, Scotland (Duke of Sutherland)
Easton Neston, Northamptonshire (Earl of Pomfret)
Edinburgh —

Antiquarian Museum

Architects' Institution

Royal Institution

Lord Murray

Hamilton Palace, Scotland (Duke of Hamilton)

Hillingdon Court, Middlesex (Lady Mills)

HoLKHAM Hall, Norfolk (Earl of Leicester) .

Houghton Hall, Norfolk (Marquis of Cholmondeley)

Hovingham, Yorkshire (Sir \V. C. Worsley) .

Castle Howard, Yorkshire (Earl of Carlisle)

The Hyde, Essex (J. Disney, Esq.) ....

Ickworth, Suffolk (Earl of Bristol) ....

INCE Blundell Hall, Lancashire (Th. Weld Blundell, Esq.

Ketteringham Hall, Norfolk (Sir J. Boileau) .

Kingston Lacy, Dorsetshire (W. R. Bankes, Esq.) .

Knole, Kent (Lord Sackville)

Liverpool (Public Museum)

213

226
241

ib.
268
271

272

//'.
276
277
278

ib.

294

ib.
ib.
296
ih.

297
299

ih.

ib.
300
301
302
32.i
324
3^5
3.W

ib.

ib.
4'5

ib.
4irt
4 = 3

xviii TABLE OF CONTENTS.

PAGE

LONDON—

Apsley House (Duke of Wellington) 4^9

— Atkinson, Esq. ....-••■■• 4.^'

C. S. Bale, Esq ik-

Burlington House (Society of Antiquaries) //'.

Col. Maitland CriclUon Hi-

Devonshire House (Duke of Devonshire) 432

Lord Elcho H-

K. Ford, Esq 4,?3

A. W. Franks, Esq. ''''.

Guildhall 434

W. R. Hamilton, Esq. , The late ib.

Holland House 4.^5

Lansdowne House (Marquis of Lansdowne) .... ib.

Lord Leicester 472

Lord De Mauley ib.

Mr Mellhuish ib.

SoANE Museum 473

South Kensington Museum . . . . . . . 481

Stafford House (Duke of Sutherland) 485

Lord Wemyss 486

Sir R. Westmacott, The late ib.

Lord Yarborough 487

LOWTHER Castle, Westmoreland (Earl of Lonsdale) .... ib.

Marbury Hall, Cheshire (A. H. Smith Barry, Esq.) .... 500

Margam, Glamorganshire (C. R. Mansel Talbot, Esq.) . . . . 516

Narford Hall, Norfolk (A. C. Fountaine, Esq.) 522

Newby Hall, Yorkshire (Lady ^L Vyner) //'.

Osborne, Isle of Wight (Royal Palace) ....... 535

Osterley Park, Middlesex (Earl of Jersey) 538

OXFORD— ib.

University Galleries =40

The Schools 572

ASHMOLEAN MuSEUM 5S0

All Souls' College .......... 592

Christ Church College 593

Radcliffe Library .......... ib.

I'enrice Castle, Glamorganshire (C. R. Mansel Talbot, Esq.) . . . 595

I'ensluirst, Kent (Viscount De Lisle and Dudley) //'.

Petvvorth House, Sussex (Lord Leconfield) 596

Pippbrook House, Surrey (Mrs Seymour Burt) 618

Ramsgate, Kent (H. Curling, Esq.) ib.

Richmond, Surrey (Francis Cook, Esq.) 619

Rokeby Hall, Yorkshire (Col. Morritt) 643

RossiE Priory, Scotland (Lord Kinnaird) 648

Salisbury, Wiltshire (Blackmore Museum) 658

Shobden, Herefordshire (Lord Bateman) //'.

Stanmore Hill, Middlesex (C. D. E. Fortnum, Esq.) .... 659

TAISLE OF CONTENTS.

Slourhcail House, Wiltshire (Siv R. Ilo.ire)
SlrallieUl Saye, Hampshire (Dul<e of Wellington)
Trentham Hall, StaflTorclshire (Duke of Sutherlant!)
Tunbridge Wells, Kent (Admiral Spratt) .
Warwick Castle, Warwickshire (Earl of Warwick)
Wentworth Castle, Yorkshire (F. W. T. Vernon-\V
Wentworlh House, Yorkshire (Earl Fitzwilliam) ,
Wilton House, Wiltshire (Earl of Pembroke)
Wimbledon, Surrey ( — Beaumont, Esq.)
Windsor Castle, Berkshire (Royal Palace)
Winton Castle, Scotland (Lady Ruthven)
WoBURN AuiiEV, Bedfordshire (Duke of Bedford)
Inde.xes —

I. Collectors, Collections, Sources, &c.

II. Drawings and Engravings

III. Subjects represented

IV. Epigraphical Index ....

ntwi;ith, E.,>|.)

PAGE

66i

662

/■/-.

66+
665
(■/'.
716

77.i
7.S(,
8::;

LIST OF PLATES AND WOODCUTS.

Pl.\te

l'L.\TE

II.

Fig. I

Fig. 2

Plate

III.

Pl.-vte

IV.

Fig. 3.

Fig. 4

Plate

Plate VI.

Plate

VII.

Pl.\te

VIII

Fig. 5.

Plate

IX.

Pl.vie

Relief, girl with two doves (Brocklesby Park, no. 17) tofua p
Fragment of a statue of a Kistophoros (Cambridge,

no. i) .
Right shoulder of the same statue
Pattern decorating the cista of the same statue
Head of Aphrodite (Holkham Hall, no. 37)
Front of a sarcophagus, "the Winds" (Ince Elundell

Hall, no. 221)

Relief, Zeus (Ince Blundell Hall, no. 259) .
Relief, a Centaur (Ince Blundell Hall, no. 267) .
Statue of an Amazon (Lansdowne House, no. 83)
Statue of Hermes (Lansdowne House, no. 85)
Bust of a heroine (Petworth House, no. 27)
Terra cotta figure of a maiden at her toilette (Rich-
mond, no. 14) ......

Votive Relief to Zeus (Wilton House, no. 48)
Relief, a Greek maiden (Woburn Abbey, no. 100)
.Sarcophagus, Patroklos, Achilleusand Hektor( Woburn
Abbey, no. 2i(j) /o /i.

to fact

242

24.i

tojace

314

lofaa

p-
p-

374
3«5

3«q

to fact

462

to fact

464

tofaa

610

to flic t

627

68 1

toflCL

73'

GEOGRAPHICAL DIRECTORY.

Bedfordshire: Battlesden, Woburn Abbey.

Berkshire : Windsor Castle.

Cambridgeshire: Cambrkltje.

Cheshire: Marbury Hall.

Derbyshire : Chatsworth.

Dorsetshire : Kingston Lacy.

Essex : Colchester, The Hyde.

Glamorganshire : Margam, Penricc Castle.

Hampshire : Broadlands, Stratfield Saye.

Herefordshire : Shobden.

Kent : Canterbury, Knole, Penshurst, Ramsgate, Tunbridge Wells.

Lancashire : Ince Blundell Hall, Liverpool.

Lincolnshire : Brocklesby Park.

Middlesex : Hillingdon Court, London, Osterley Park, Stanmore Hill.

Norfolk : Holkham Hall, Houghton Hall, Ketteringham Hall, Narford Hall.

Northamptonshire : Castle Ashby, Easton Neston.

Northumberland : Denton Hall.

Nottingh.amshire : Clumber Park.

Oxfordshire : Blenheim Palace, Ditchley, Oxford.

Scotland : Broom Hall, Dalkeith Palace, Dunrobin Castle, Edinburgh, Hamil-
ton Palace, Rossie Priory, Winton Castle.

Staffordshire : Trentham Hall.

Suffolk : Ickworth.

Surrey : St Ann's Hill, Deepdene, Pippbrook House, Richmond, Wimbledon.

Sussex : Bignor Park, Chichester, Petworth House.

Warwickshire: Birmingham, Warwick Castle.

Westmoreland : Lowther Castle.

Wight, Isle of : Osborne.

Wiltshire: Salisbury, Stourhead House, Wilton House.

Yorkshire: Boynton, Duncombe Park, Hovingham, Castle Howard, Nevvby
Hall, Rokeby Hall, Wentworth Castle, Wentworlh House.

ADPF.NDA AND CORRIGENDA. xxi

ADDENDA AND CORRIGENDA.

P. 5. The earliest instance of an English collector of ancient sculpture at
Rome is afforded by Henry of lilois, Bishop of Winchester, brother
of King Stephen, who lived at Rome about A. D. 11 50; see Momtm.
Germ. Histor., Script., vol. .\x., p. 542. Cf. R. Pauli in the Academy
1880, Nov. 6, p. 330.

P. 34, 1. 13 : discovered] read: copied

P. 45, 1. 35 : fifty-two] read: eighty-three

P. 60, I. 8 dele : that

P. 70, n. 177, I. 7 : 1783] read: 1753

!'• 75. '• 5 '^''''''- Hon.

P. 81, n. ■205 add: Academy, 1878, p. 142, notej:.

P. 89, n. 229 : nos. 38, 66] read: nos. 40, 46

P. 104, 1. I : decade] read: decades

P. 105, 1. 4: 1778] read: 1777

P. 108, n. 275 add: Guattani, Mon. Iiied., 1805, p. lxxxvh.

P. n8, 1. 15: Kistophors] read: Kistophoros

P. 126, 1. 16: Mr Anson] read: Lord Anson

P. 157, 1. 420 at the end, add: Arch. Zeit., 1880, pp. 83f.

P. 160, n. ^^oadd: Edm. Oldfield, Trans. K. Sec. Lit., vol. VI., Nr^u Series, pp.
130 ff.

P. 161, 1.3: 23] read: 24

I'. 162, n. 436 add: Vaux, Trans. R. Soc. Lit., vol. viil., Nciu Series, p. 590.

P. 166, I. 3 from end: found] read: founded

P. 171. For the matters treated in §§ 94 and 95 cf. Vaux, Trans. R. Soc. Lit.,
vol. VHI., A^ew Series, pp. 559 ff.

P. 176, 1. 17. The seats of Lady Charlotte Glamis, widow of Thomas George
Lord Glamis ((/. 1834), are Strathmore, Glamis-Castle, Forfarshire, and Paul's
Warden, Hertfordshire.

P. 211. In Alnwick Castle (Northumberland), the seat of the Duke
OF NoRTHUMliERLAND, is preserved, besides some Roman cinerary
urns of great beauty (Waagen, Treas., IV., p. 473), the famous
Beverley collection of gems.

P. 211, St Ann's Hill, no. 5, add: Clarac, IV. 755, 1844.— In Piranesi's
Vasi, I. PI. 52 there is an engraving of a large marble vase {/crater),
in the possession of Lord Holland, with reliefs said to represent the
suovetaiirilia. It is evident from the engraving that at least the
upper part of the vase lo entirely modern ; but also the reliefs which
show a scene of sacrifice {camillus, priest near tripod, flute player,
■popa slaying a hog, servant bringing a bull, etc.) convey a rather
modern impression.

P. 211. The vases preserved at Castle Ashby have lately been examined
by Dr Furtwiingler, see Arch. Zeit., 1881, pp. 301 ff.

J'. 212, Battlesden, 1. 3. The right spelling of the owner's name, as kindly com-
municated by him, is Bromilow.

xxii ADDENDA AND CORRIGENDA.

1'. 213, liignor no. i add: Clarac, iv. 666 B, 1508 A.

1'. 215, no. 3, 1. 9: surrounded] read: flanked.

1'. 216, Boynton, no. i,add: Probably identical with Cavaceppi, Race, III. 52,
cf. Bernoulli, Koin. Ikonogr., I. p. 194.

P. 220, no. II, 1. 8 after " vannus" add: on his head.— The altar seems to
have come from the Barberini collection, cf. Doaimenti ined. per
scrv. alia storia dci Miisci d' Italia, IV. p. 39 " Una piccola base trlan-
golare di ara con tre bassi rilievi, uiw rapprescntatite ima Sacerdo-
tessa in atto di sagrificare, Valtro una Baccante, et il terzo un Silcno
con canestro difrtitti in testa c patera in inano."

V. 12^, no. 32 add : Piianesi, Vasi, I. PI. 49.

P. 226, no. 33 <utd: Piranesi, Vi7si, I. PI. 49. A third similar vase in the pos-
session of Lord Palmerston is given in Piranesi, PI. 28.

P. 229, 1. 19 dete: even

P. 229, no. 17, 1. 3 : charm of] read: charm nor of

P. 231, no. 26 add: Clarac, IV. 772, 1924.— In the verses, 1. 5, read: fleiKij-

P. 235, no. 63 add : Clarac, III. 476, 904.

P. 236, no. 82 add : Clarac, V. 784, 1962.

P. 238, no. 91. Apparently identical with Piranesi, Vasi, Ii. PI. 105.

P. 242, no. I, 1. 8: II. 892] read: II. 8, 92.

P. 243, I. 27 : ttXtj/joxo'?] read: ■wK'qiioxori

P. 246, no. 4, 1. I : Pan ; rpowaioipopos figured] read: Pan ; figure<l as rpoiraio-

ipopoi
P. 248, no. 15 add: C. I. Gr. 3635.
P. 251, 1. 9: ' KwoWoSapov] read: 'AiroWoSupou
P. 251, 1. II : the style of] read : the style and
P. 253, 1. 2 add : Lacroix, lies de la Gr'ecc, PI. 6.
P. 262, no. 76 add : Benndorf, Vorkgebldttcr, C, PI. 9, 3. 4.
P. 265, no. SS add: Muratori 1327, 11 (in Ficoroni's possession).
P. 266, no. 89 add: Muratori 1316, 11 (in Ficoroni's possession).
P. 266, no. 93 add: Bernoulli, diUni. Ikonogr., I. p. 163, and the quotations given

there in note 4.
P. 268, I. 5 read : aufgestiilzen Fusses
P. 270, no. Ill, 1. I : column] read : stele

r. 274, no. 45. On the representation of Seirens with fish tails, which is
not antique, cf. the learned disquisition of J. Bolte, de nwnuineiitis ad
Odysseain pertincntibus, Berlin 18S2, pp. 33. 59 fT.
P. 278 dele : CORFE Castle.
P. 289, no. 35, 1. 8: as a vase] read : it is a vase.
P. 290, no. 39, I. 3: PI. 59] read: PI. 65.

P. 306, no. 19, 1. I : PI. 7] read: PI. 27.— A replica of this fine statue is
at Tersatto Castle, near Fiume, cf. Schneider in Archaeologisch-epi-
graphische Mitthciluiigcn aus Oesterreich, v., p. 159, no. 2. In this
statue Seilenos has a tail.
P. 307, 1. (1, p. 308, 1. 16, and p. 313, no. 34, 1. 17; Am.-\dciJ read : Auiidci
P. 308, no. 24 add: Clarac iv. 574, 1231 A.

ADKENDA AND CORRIGENDA. xxill

1'. 310, no. 26. A short abstract of my memoir, accompanied by a poor
woodcut, is given in The Antiquary, 1882, January, pp. 6—8. I need
scarcely say that the attempt to ascribe the Holkham bust to Phidias
or to Kresilas (p. 8) is exclusively due to the author of that article.

y. 311, no. .29 add: Bernoulli, Kom. Ikotiogr., I. p. 92, where a slight sketch of

the fine head is given.
P. 313, no. 36 add : Montfaucon, Ant. Exp!., III. PI. 6, 3.
P. 316, no. 46: Meade] read: Mead, arvX add : [*]
P. 317, no. 48. Perhaps identical with F. Ursinus, Imagines, PI. 75. C. I. Gr.

6079?
P. 317, no. 49 add : Gruter 988, 4.
P. 317, no. 50, 1. 9: no. no] read : no. 66
P. 318, no. 51. The last passage refers not to no. 52, but to no. 51.

P. 318, no. 53. The identity of the Holkham bust and the bust found at
Tivoli has been doubted by Bernoulli, Rom. Ikatiogr., I. p. 290 (cf.
pp. 70 ff.) on account of the latter being mentioned as still existing in
the Capitol in the Beschreibung dcr Stadt Rom, ill. i, p. 124. In
matter of fact, the Tivoli bust, in compliance with Ursinus' will, came
into the Capitol, and is described as being there in Rossini's Mercurio
errante, 1693 (p. 13 of the 6th edition, 1739), and in the Descrizione
delle statue. ..ne Palazzi di Campidoglio (p. 139 of the 3rd edition,
^ni)- On tl^s other hand, neither Ridolfino Venuti in his rather
detailed account {Roma niodcrna, 1741, p. 9) mentions the bust, nor
does E. Q. Visconti know that the bust ever was in the Capitol
{Tconogr. Rom., I. p. 130 Mil.), nor has it found a place in the careful
\a.sVs liinerario istrutiivo di Roma, 1. p. 81 of the edition of 1804-
The bust reappears on its old place first in Platner's Beschreibung,
I. cit. (1837) as a head placed on a modern bust of coloured stucco,
with a modem inscription "Lucius Cornelius Praetor"; short notices
of it are also to be found in Nibby, Roma neW anno 1838, Parte
moderna, 11. p. 627, and in Tofanelli, Indicazione delle seulture...
nel Miiseo Capitolino, 1S46, p. 139. Now, however, neither Dr
Dressel nor Dr Schwartz, requested by Prof. Bernoulli and by myself
respectively to make inquiry, is able to find any trace of that bust
in the Capitol. To me it appears more than probable, that the
Holkham bust, which is not a head but a complete bust, as is the
engraving in Gallaeus, and which by the grove on the nape of the
neck bears witness of its being the very bust found at Tivoli, was
abstracted from the Capitol in some way at the beginning of the
l8th century and found its way into the hands of Kent; that for more
than a century its loss had been forgotten in Rome ; that in our
century the vacant place of the old inventories has been filled up by
some head put on a modern bust of stucco and christened with the
old name ; and that finally this head has disappeared in the recent
rearrangement of the Capitoline collections.

xxiv ADDENDA AND CORRIGENDA.

V. 321, I. 10. Cf. especially the statue of Zeus in the eastern pediment of

the temple of Zeus at Olympia (Overbeck, Plaslik, 3. ed., I. p. 420,

fig. 90, no. I H).
P. 327, no. 16. Bernoulli, Rom. Ikoiiogr., I. p. 119, note i says that the

globe on the 1. hand is possibly antique.
P. 330, no. 50 add: Muratori 884, 8 (Mancini collection in Rome). The

inscription runs thus : D. M.\ P. Arliiis Aug. lib. \ Taurus proc.
P. 331, no. 52 add : Muratori 1549, 8 (in Ficoroni's possession).
P. 332, no. 66 add: Engelmann, Beitrdge zu Euripides, I. Alkinene, Berlin 1882;

a sketch of the vase is given on p. 5.
P. 338, 1. I dele: Cavaceppi, Race, 11. 36.
P. 338, no. 6, 1. 3: no. 8] read : no. 9
P- 343i no. 24 add; Man. Matth., I. 70 "Bacchans."
P. 348, no. 34, 1. I : 1696 B] read: 1646B.
P. 364, no. 128, 1. 2 : PI. 22] read : PI. 2, 2.
P. 369, no. 176. Cf. Bernoulli, Rom. Jkonogr., \. p. 122.
P. 373, no. 215, 1. 4 : kitchen] read : Temple
P. 377, no. 226 add : Muratori 1539, ^ (''^ 'h^ Giustiniani Villa outside the Porta

del Popolo).
P. 378, no. 231 add: Muratori 1745, '5-
P- 379> no. 233, 1. 8 : autumn] read : summer
P. 379, no. 236, 1. I : Engr. 84, 3] read: Engr. 84, 4.
P. 380, no. 239 add : Muratori 1224, 3 (Marchese Capponi).
P. 380, no. 240 add : Muratori 996, 9 ; he gives Claudia and hie situs est.
P. 391, no. 274 : barrel] read: belly
P. 403, no. 312 add: Muratori 1695, 3.
P. 403, no. 313 add : Muratori 1476, 10.
P. 404, no. 316 add: Muratori 1198, 10 (Villa Montalto).
P. 404, no. 317 add: Muratori 1665, 4.

P. 404, no. 318 add: Muratori 1524, i gives the inscription, then in the
Cesarini Villa, as follows " e schedis Ptolomeis" (a good authority) :
Dis Manibiis sacrum \ M. Burrio Felici patron. \ beneme7-enti fecer. I
M. Btirrius Hermes \ M. Burrhis Ptilpus \ ct Burria Philumeiie \
M. Bun-ius Punciliis \ M.Burrius Atticiis | M. Btirrius Ahascantiis.

P. 404, no. 319 add: Muratori r545, 9.

P. 404, no. 320 add : Muratori 1698, 9.

P. 405, no. 322 add: Muratori 1273, "■

P. 406, no. 330 culd: Muratori 1252, 10.

P. 407, no. 341. The same inscription is to be found on a different cippus in
Piranesi, Vasi, I. PI. 52.

P. 408, no. 350 add: Cf. Muratori 1598, 11 = 1738, 9.

P. 409, no. 354 add: Muratori 1634, 10.

P. 409, no. y^d add: Muratori 1153, 5.

P. 409, no. 362 add: Muratori 1164, 8 (Villa Montalto).

P. 410, no. 364 add: Cf. Muratori 1705, ri (Villa Giustiniani).

P. 410, no. 373. Identical with Piranesi, Vasi, II. 112?

P. 413, no. 399, 1. 3 : Engr. no, 3] read: Engr. no, i.

ADDENDA AND CORRUiENDA. XXV

P. 42fi, no. II adJ : Miiratoii uoC), 7 (in the viyna of .Sd>. Lazzarini, near Rome).
I'. 428, no. ?H. A vase of similar shape is engraved in I'iranesi, Vasi, I. I'l. g, K.
I'. 429, no. I add: Bernoulli, Rom. Ikonogj:, I. p. 1 36, and the authorities

quoted by him. Hcnzcn (C /. L., vi. i, 1326) doubts the genuineness

of the inscription.
P. 430, no. 3 add : Bernoulli, /iVw;. Ikonog^r., I. pp. •2Sofr.
P. 434, no. 2. Helbig's interpretation has become uncertain since the

discovery of the monument of Manius Cordius Thalamus {Bnl/ci.

comitn., IX. PI. ig, 20), on which an indisputable head of Minerva is

covered with the mask of Medusa.
P. 441, no. 16 add : Gruter 613, 9 (in the ehurch of .SS. Cosnia e Damiano, at

Rome), who gives Aittoniniano.
P. 442, 1. 6: as it seems] read : as it were
P. 442, no. 24 add : Gruter 675, i (in the possession of the Mattei family, in Tras-

tevere, near the Ponte S. Bartolommeo).
P. 444, no. 29. Cf. Bernoulli, Rom. Ikonogr., I. p. 91.
P. 445, no. 33, 1. II : in drapeiy carving] reati : of drapery
P. 455, no. 67. As to the epoch of the original of this statue, cf. K. I^ange, yf re/;.

Zeit., 1881, p. 197 note 2.
P. 457, no. 71 add ; Gruter 676, 13 (Cardinal Cesi).
P. 462, no. 81, 1. I : Terminal bust] read: Terminal figure
P. 464, 1. 9. "Mr Grenville" is no doubt a member of the family of the

Marquis of Buckingham, who was at that time in Italy collecting

marbles for Stowe, cf. Piranesi, Vasi, I. PL 1 5.
P. 473, no. 1,1. 2: statues] read: statue
P. 499, no. 94. This is probably the fragment of marble discovered in

the Casali Villa, on the alleged site of the campus Martialis (Ovid,

Fast. 3, 521. Paulus Festi epit. p. 13:), which was thought to be a

meta, though its shape showed very little similarity to a reaVmeia. It

was for some time preserved in the garden of the said villa, and

afterwards bought by an Englishman for a large sum. Cf. Beschr. d.

Stadt Rom, ill. i, pp. 477. 502.
P. 502, no. },add : Clarac, iii. 476 C, 906 E.
P. 504, no. 8, 1. 24. In the Berlin .group certain details are such as to

leave it uncertain whether Dionysos or Priapos is meant.
P. 517, no. 3, 1. 19. It is probably the ^^ statua alia pal. 6, rapprescntante

tin Fau>io colla siringa e baslonc," described in the inventory of the

Barberini collection made in 1738 {Docum. iiied. etc., iv. p. 50).
P. 544, no. 10, 1. 17: freely] read: fully
P. 552, no. 42, 1. 2 : 970] read: 970 D
P. 566, no. Ill add: Benndorf, Vorlegebliitter, C, PI. 11, 3.
P- 576, 1. 2. The principal name may be NiK77<rios.
P. 600, no. 6 add: C. I. Gr. 6138.
P. 624, 1. 6 : statue identical] read: statue is identical
P. 635, 1. 20: version] read: copy
P. 642, 1. 13: over] reoit: beyond

xxvi ADDENDA AND CORRIGENDA.

1'. 64a, no. 80. Cf. Muratori 1319, S.

1'. 655, no. 91 cuid: Muratori 999, 6 (Ang. Borioni).

P. 669, I. 30 dek: 46, this bust being not modern.

I'. 684, no. 55, 1. 4 add: [*]

P. 684, no. 60, 1. I : Collib.'] read: Monum. lib.

P. 712, no. 198 add: Muratori it<)(>, 10 (Montalto Villa).

P. 721. Two drawings by Miss Agnes C. Imlach communicated to Mr

Conze enable me to give a more detailed description of the two stelae

at Winton Castle.

1. Attic sepulchral stele, very tall, flanked by two pilasters, and
crowned with a rounded top, on which a graceful anthemion is developing
itself. In the field stands a maiden, facing 1., in sUght movement. She
is draped with a chiton and a wide cloak which entirely envelops her 1.
arm. The hair which falls down on to the nape of the neck shews a
simple arrangement. The head is bent, looking at a small doll which she
holds in her raised r. hand. Beautiful Attic style of the 4th century. On
the architrave is the name 'Aptoro/iax'/, written in the characters of that
period. H. 1-63. L. 0-45.

2. Attic sepulchral stele. Between two pilasters is a female figure,
seated on a chair, facing 1. She is draped and wears a high head-dress.
She shakes hands with another female, draped, who stands opposite to
her. Relief of good character, which would suggest a better time than
that of the inscription written in the pediment and on the architrave in
large characters of the somewhat ornamented style of Roman times : (in
the pediment) KAauSi'a, (on the architrave) "A(f)(j>eiv ck MeXiTeav. As to
the second name of the lady, cf. C. /. Gr., nos. 3167. 3278. H. 099.
L. 050.

P. 735, no, 117 add: Benndorf, VorUgehlatter, C, PI. 10, 1.

P. 745, no. 186, yi add: Muratori 1144, 7 (Marchese Lovatelli at Rome).

P. 748, no. 219 add: Benndorf, Vorkgchliittcr, C, PI. 10, i.

P. 768. Rome, collections, add :

Borioni R. Rossie 9 1

Capponi R. Ince 239

Casali Lowther 94

Cesarini R. Ince 318

Cesi R. London, Lansdowne 71

SS. Cosma e Damiano R. London, Lansdowne 16

Ficoroni A'. Cambridge 88. 89. C. Howard ^^

Giustiniani R. Ince 226. 364?

Lazzarini R. Liverpool 1 1

Lovatelli R. Woburn 186, A

Mancini R. C. Howard ,i;o

Mattel in Trastevere R. London, Lansdowne 24

Montalto R. Ince 316. 362. Wilton 19S

INTRODUCTION.

ON THE INFLUX OF ANTIQUE SCULPTURES
INTO GREAT BRITAIN.

INTRODUCTION.

ON THE INFLUX OF ANTIQUE SCULPTURES INTO
GREAT BRITAIN.

rREI.nilXARV.

No other country in Europe can at this day boast
of such a wealth of Private Collections of antique
works of art as England, which in this particular recalls
the Rome of the si.\tcenth and seventeenth centuries. Great
is the number of town-houses and palaces, still greater the
number of country-seats, in which the noble and the rich
treasure up, by the side of incomparable masterpieces of
modern painting, considerable collections of antique works
of art, especially of sculpture. So numerous are they, that
few have any notion of this abundance of treasures, and
perhaps no one individual enjoys a really comprehensive
knowledge of them. Whatever has once reached the
region of this Enchanted Island has remained there as
it were spell-bound. These collections have in frequent
instances experienced great vicissitudes. Many have more
than once changed owners, many have come to the hammer
in public auction ; they have been moved from one place
to another, and in consequence have often found their
way into remote and inaccessible hiding-places ; indeed a
certain number of specimens have been utterly lost sight
of, so that only a happy chance can bring them back to
light. Very few however, and those under quite peculiar
circumstances, have made their way back across the
Channel. " England," says a gifted writer on art, " is to
works of art what the grave is to the dead ; her gates do
not open again to let them out'."

' Biirger, \V., Les Tresors d' Art en Angldene, Brussels and Oslend, 1862, p. 1.
M. C. I

2 AN'CIENT MARBLES IN GREAT BRITAIN.

The works of ancient Greek and Roman art in England
alone constitute the subject of the present volume. The
student who attempts to trace the introduction of such
works into the country, will soon notice that there are
three clearly defined periods in the development of this
branch of dilettantism. In the first, which embraces the
time of the Stuarts and their immediate successors, it is
individual collectors who strike into the path indicated.
Only a few undertook to collect the larger works in
marble. There is consequently a preponderance over
these of the smaller objects of art, bronzes, coins, gems,
which, being more easily attainable and more easy to
transport, have at all times formed a favourite object of
the antiquarian collector's enthusiasm. The destinies of
these old collections are for the most part, like the whole
circumstances of the time, variable and frequently violent.
At the end of the period only a few had entirely or even
partially preserved their old condition. , At this day the
collection at Wilton House is the solitary unimpaired
representative of that epoch; besides which, of the treasures
of the illustrious Earl of Arundel the greater part is still
to be found at Oxford, in the secure possession, not of
a private person, but of the University.

Then comes the heyday of dilettantism in England, the
last century, especially in its latter half. In an unintermit-
ting stream the ancient marbles of Rome poured into the
palaces of the aristocracy of Britain, whose wealth in some
cases afforded the means of gratifying a real artistic taste
by these rare possessions, and in others enabled them at
any rate to fall into the new fashion of dilettantism, the
furore for antique art. The older Roman collections were
bought up; fresh excavations were instituted. Englishmen
settled in Rome and dealt in the acquisitions without
which milord on his travels could not well return home
from the ' grand tour.' Of course other countries tried to
secure their share, but England stood foremost. During

rRF.I.IMIXARV. 3

this period of fifty or sixty years there came into being
most of the private collections of antiques in which the
island abounds, and those the largest and most valuable.
Their general character depends upon the fact that their
origin has been almost exclusively in the soil of Rome and
its immediate vicinity.

At the beginning of this century the possession of a
gallery of sculpture ceased to be indispensable to bon ton.
The importation of antiques came to a stop, owing to the
interruption of commercial intercourse entailed by the pro-
tracted war against Napoleon. Other fashionable tastes
sprang into existence or were revived. Once again the
interest, or at any rate the active enthusiasm, for collections
of antique works of art, became the privilege of a few real
lovers of such things. While however this abatement of
zeal took place in private circles, the State stepped into the
place of individual amateurs with abundant energy. Since
the opening of this century the British Museum has ad-
vanced with rapid strides to the supreme position of having
the finest collection of antiques in the world. It was no
longer Rome, or Italy generally, which filled the rooms of
this institution with late copies or imitations of Greek
originals ; but Greek art itself, represented by a stately
series of its most beautiful creations, entered the museum
in triumph, and asserted a might of simple grandeur be-
fore unknown. The British Museum must in this respect
remain altogether beyond the reach of rivalry. The
sum of its priceless treasures has been completed by
means of excavations specially undertaken, and successful
acquisitions made with unremittent zeal at the sites of
discoveries. They have often been increased by donations
or purchases of private collections. In fact, the British
Museum has gradually thrown all private collections far
into the background. It seems therefore only natural and
desirable that in the future also the several brooklets
should discharge themselves into this mighty stream.

1 — 2

4 ANCIENT MARBLES IN GREAT BRITAIN.

The object of the ensuing sketch is to follow this
development more closely into detail, and at the same
time to draw attention to such general considerations as
must necessarily escape notice during the study of the
collections taken severally. If in these preliminary re-
marks the older collections are found to be treated more
fully than the newer, and those which have been dispersed
than those still existing, no apology is needed.

I cannot help lamenting the general inadequacy of the
aids at my disposal. Only occasionally have I been enabled
to give more than a mere outline of my .subject. However,
I have at any rate aimed at accuracy and certainty in its
delineation. Much will undoubtedly have escaped me, not-
withstanding the assistance of friends quite qualified to offer
criticism and advice, as I was able to devote but a short
time to the use of a mass of literary aids only available in
England. But in the case of the great majority of these
collections, there is an absolute dearth of accounts of their
origination and of the sources of their component elements.
There is undoubtedly much information on such matters,
either in the form of short memoranda or complete corre-
spondence, still preserved among the archives of those
families whose ancestors in bygone times acquired the col-
lections. I have had access to only a small proportion of
such unprinted papers. It is to be hoped that my book
will call forth communications of such records. Of previous
labourers in a more general style in the same field, it is only
necessary to mention the occasional paragraphs in Horace
VValpole's Anecdotes of Painting, and Dallaway's useful
though too superficial and uncritical books. Should these
drawbacks not seem sufficient to secure indulgence for the
shortcomings of the following sketch, the reader may earn
the gratitude of the public and of the author by pointing
out or laying open new .sources of inquiry.

THE ARUNDEL MARBLES AND OTHER
EARLY COLLECTIONS.

1. It was late before England joined the competition iVoan-
of the nations which desired to possess a share ot the E„giand
abundance of antique sculptures which since the fifteenth "'.Jl[',.^'^'''
century have come to light in unheard-of numbers from
the soil of Italy. In the course of the sixteenth century
we see Francis I. of France, Philip II. of Spain, Rudolf II.
of Germany, taking pains to raise their residences in Paris,
Madrid, and Prague to equal rank with the palaces of the
Roman nobles by decorating them with works of antique
art. Princes of lesser rank, such as the Electors of Bavaria,
follow their example ; and even private persons of wealth
are loth to be left behind. I may instance the Welser
family of Augsburg, between which city and Italy there
were intimate connections. In England during the Tudor
period no trace yet showed itself of a similar interest ;
although the influence of Italy in other fields of culture
was scarcely so deeply impressed on England at any
other time as in the sixteenth century. The long dis-
tance from Italy, the insular position of the country,
the keenness of political and religious oppositions and
dissensions, a puritanical aversion from images of heathen
deities, might constitute the main reasons why in this
particular England lagged behind the continental states
throughout the whole of the sixteenth century.

6 ANXIENT MARBLES IN GKEAT BRITAIN. [2, 3

ir.nry, 2. It was Under the Kings of the house of Stuart that

iVal'cs. a change first began. It appears that the first to aim at the
possession of antique works of art was the eldest son of
James I., PRINCE Henry, "that hopeful cherisher of great
and noble things," who died young A.D. 1612. He laid
the foundation of a collection of coins which, his brother
Charles subsequently enlarged, and acquired the collection
of gems made by Abraham Gorlaeus of the Netherlands
{d. A.D. 1609)^ He further left his brother eighteen small
statues, but as they are designated in the catalogue of
works of art in the possession of King Charles the First,
as " Florentine brazen statues," and as their description
contains several strange particulars'^ it is doubtful whether
genuine antique statues are meant or whether they were
not rather modern imitations, like many specimens in the
possession of Charles I. Prince Henry had not yet reached
his eighteenth year when he died. Had he lived longer, to
his lot there would probably have fallen a share of the
glory, which now belongs to another, of being prover-
bially styled the "father of -t'crtii" in this country. We
pass now to the individual thus designated, from whom
a distinguished Society of friends and promoters of genuine
art has been able with propriety to take its name.
, , X. Thom.a.s Howard, Earl of Arundel and

Lord -^ '

ArnndcFs SURREY (p. A.D. 1585), reinstated by A.D. 162 1 in the

ionrs lit ^ ....

Jta/y. dignity hereditary in his family of Earl Marshal of
England, stands indisputably at the head of English art
collectors^ His delicate health had early taken him
to Italy for a comparatively long visit, from which he

- Evelyn, Letter to Pcfys, 1689, eighteen little Statues which cnnie to

Aug. 12. \^a\-po\e. Anecdotes 0/ Paitit- his iVIajesty by the decease of Prince

iiig, ch. VIII. (Sal. de Caus). ix. Henry." Cf. Carleton to Chamber-

(Charles I.). Chamberlain to Carleton lain (Birch, James L. i. p. ■Z12).
rnhnch'sCourtandTimesofyamesI. * Walpole, Anccd. ch. IX. Dal-

I. p. 207. laway. Anecdotes, p. 229. Ellis, H.,

' A Catalogue of King Charles the The Townley Galleiy, I. p. 57. Ed-

First's Capital Collection, ti-anscribed wards, Lives of the Founders of the

by Vertue, London, 1757, p. 21, "the British Museum, I. p. 183. Cf.

3, 4] EARLY COLLECTIONS. 7

first returned home at tlic end of the year i6i2. The
direction of his taste was finally determined by a renewed
sojourn of twelve months, A.D. 1613, 1614. By the King's
order the j-oung .lord, accompanied by his wife Alathea
Talbot, daughter of the Earl of Shrewsbury, had conducted
the Princess Elizabeth as bride to her betrothed husband,
Frederick, the Elector Palatine. "Thence he went into
Italy, where he very much pleased himself, and either took
up or improved his natural disposition of being the great
master and favourer of arts, especially of sculpture, design,
painting and architecture, which rendered him famous and
acceptable to all ingenious spirits both at home and
abroad ^" Thus we are told by Sir Edward Walker, who had
stood in close relations to him and his house. Peacham's
often-quoted words refer to the same juncture as the be-
ginning of the Earl's activity as a collector. They will be
found in their proper place further on. It deserves notice
that Arundel had in his suite no less a person than Inigo
Jones, whose artistic taste developed itself for the first
time during this journey in the direction of that classical
style which characterized his later designs". We may fairly
conjecture that the Earl's natural taste for art must have
been much stimulated by the influence of the practical
knowledge and mature judgment of his elder companion.
Relations were in various forms kept up between the two
men afterwards.

4. We cannot now prove in detail how much Lord His Italian

, , AJarblcs.

Arundel got together at that tune m person, how much
"radually by his agents, several of whom he employed
in Italy and "generally in any part of Europe where
rarities were to be had'." He is said to have himself

Michaclis m Im nciiai Kcich, 1878, I. ' Historical Discourses, London,

pp.9Ji,964. Ihavetakenpainstorefer 1705, p. 212.

on all occasions as far as possible to " .Sir Dudley Carleton to John

the original authorities, and 1 hope Chamberlain, 1613, July 9 (liircli,

that the account h.is consequently been James I. p. 255).

made both more complete and more ' V/alker, //w/. Disc. p. 2:2.

accurate.

8 ANCIKXT MARBLES IN GREAT BRITAIN. [4

obtained leave to institute excavations on the sites of
ruins about Rome, and it is also related that he discovered
in subterraneous chambers a whole number at a time of
splendid Roman portrait-statues. These were soon re-
stored in the usual manner, and furnished with the high-
sounding names of Cicero, Marius, and so forth. They
still at this day adorn the collection at Oxfordl Others
were obtained by purchase. "He made a wonderful
and costly purchase of e.xcellent statues, whilst he was in
Italy and Rome, some whereof he could never obtain per-
mission to remove from Rome, though he had paid for
them'." That Arundel's aims were pitched high we learn
from two instances accidentally recorded'". In the Circus
of Maxentius (usually called of Caracalla) not far from the
Via Appia, there lay an obelisk of about sixteen metres in
length broken into four pieces. It was only the difficulty
of transport to the sea which deterred the Earl from pur-
chasing the fragments and putting them together in London;
which city might otherwise have been able to boast an
obelisk long before the bringing over of Cleopatra's needle.
What happened instead was that Bernini (A.D. 165 1) crown-
ed his fantastic fountain in the Piazza Navona with the
obelisk in question. The purchase of the Meleager (then
called Adonis) of the Pighini palace, which now constitutes
one of the chief ornaments of the Belvedere, was likewise one
of Arundel's schemes, but it miscarried upon the refusal
of the owner to part with his treasure even for a high price.
Por the element of cost never came into consideration with
respect to the Earl's passion for collecting. "His expenses,"
says his embittered opponent Lord Clarendon ", " were
without any measure, and always exceeded very much his
revenue." If we measure those aspirations by the results,
certainly most of the sculptures of Italian origin, which

" \)an:i\\ay, A it,rr/. p. 156. " Evelyn, Dia/y, 1645, Feb. 16.

' ('larendon, ///j/. oj the Kcbdlion, 1644, Nov. 6.
Oxf. 1849, I, p. 7S. " Hist. cftheKcb. 1. cit.

4, 5] KAKLV COLI-KCTIONS. 9

arc still to be found among the remains of the Arundel
collection at Oxford, seem rather insignificant. For there
are only a few specimens which rise above the level of
mediocrity; the best portion of that collection being un-
doubtedly or probably derived not from Italy but from
Greece.

5. In the first period of the reawakening of classical The
culture, Poggio Bracciolini, tlie great pioneer of the Re- Creecc.
naissance, had already made use of his connection with
some friends in Chios to get a few antiques from Greece
to grace his villa near Florence, the Valdarniana '^ Again,
about the middle of the fifteenth century, the enthusiastic
traveller Ciriaco de' Pizzicolli of Ancona, during his re-
peated wanderings through the islands of the Archipelago,
had turned his attention to the relics of Greek art ".
These districts were then under the rule of Italian princes.
But since the Turks had established themselves in absolute
dominion over them, it had become more and more diffi-
cult to pursue such interests. At best the nobles and mer-
chants of Venice could place themselves in possession of
one or two specimens, and there was a general impression
that " all above ground was gone to Venice "." Or else
the ambassador of a Western power to the Sublime Porte
would use his residence as an opportunity for collecting
what presented itself to him. So it was with the French
ambassador, Des Hayes'". We hear too of similar efforts
of the Provengal scholar Claude Peiresc, who most zealously
turned to account his wide-spread connections for his
scientific works '". But the merit of having caused these
classic shores to be ransacked for the express purpose of
collecting antiques belongs to the Earl of Arundel, and

'- Shepherd, Life of Poggio Brae- '* Roe, T., Negotiations, London,

eiolini, Liverp. 1802, p. 2gr. G. '"40, p. 647.

Voigt, Die Wiederbelebung des class. ''' Roe, p. 154. Laborde, ..4Mt-«<-/,

Alterthums, Berlin, 1859, P- '?.?• '• P' ^'■

" Jahn, O., Alls der Alterthums- '" Gasscndi, Fabr. de Peiresc vita,

wissenschaft, Bonn, 1868, p. 3.5,^ '''"'. 1641, p. 227.

lO ANCIEXT MARBLES IN GREAT BRITAIN. [5, 6

the energy with whicli he followed up this task in the
midst of so many others, quite answers to one of the
characteristic qualities of his nation.
Sir- 6. The first opportunity was presented by the mission

Roe in of Sir Thomas Roe to Constantinople, as ambassador from
S'/f """ James I., in the year 162 1 ". The Earl Marshal, by birth and
position one of the foremost among the dignitaries of the
English nobility, might well count on meeting with no
refusal if he earnestly requested the ambassador at his
departure to pay regard in his interest to the treasures of
antiquity, works of art, and manuscripts, and to collect them
for him. In fact. Sir Thomas was quite willing to be of
service, and declared himself ready " to look back upon
antiquity" besides pursuing his own vocation, which was
" to attend new things," all the more so as he was himself
" a lover of such vertues," though no great connoisseur.
Had he had an idea to what troubles and unpleasantnesses
he was about to expose himself by undertaking this com-
mission, he would probably have been less ready and willing
to enter upon this "quarry and stone business." For some
time indeed the affair went on tolerably smoothly. Imme-
diately upon his arrival at Constantinople Roe collected in-
formation about the localities which gave the best promise
of a return. In particular the Bishop of Andros pointed out
the places of sepulture in Rheneia (great Delos) as a rich
mine of treasures. This spot has been ransacked again and
again up to the present day, and is not yet exhausted. He
set the British consul to work to institute inquiries within
his district. Here was the commencement of a system which
has since been employed with such important results. Sir
Thomas was indefatigable in asking the necessary permis-

'' The Negotiations of Sir Th. Roc arranged in order in the Appendix to

in his Embassy to the Ottoman Porte, this Introduction. I have looked

London, 1740. These letters have through some other correspondence

been often used since the time of of .Sir Thomas', which is preserved

Horace Walpole, but never thoroughly in the British Museum, for notices

used up. So far as they refer to our of tliis kind, but to no purpose,
present suliject, they will bo found

6, 7] EARLY COLLECTIOXS. I I

sion from the Turkish authorities, though not always with
the desired effect. The very first letters tell of a " maid of
Smyrna," which Arundel seems to have mentioned to Roe,
and of a fragment of a lion holding a bull's head in its claws
at Lampsacus. The two specimens were not however se-
cured. Yet Sir Thomas, though barely arrived at the Bos-
phorus, was already on the high road towards anticipating
the fame of Dr Schliemann, since he was able to offer the
Earl " a stone taken out of the old palace of Priam in Troy,
cut in horned shape." It is a pity that this stone, as indeed
many other Trojan antiquities, had no recommendations
except the high-sounding name of its alleged place of
discover}-.

7. Unfortunately there are only a few letters remaining nniliam
of the correspondence between Roe and Arundel. Conse-
quently we cannot say what induced the Earl, Roe's efforts
notwithstanding, to send out a special agent to the Levant,
— whether, for instance, the practical fruit of the exertions
of the much-occupied diplomatist seemed too trifling, or
whether he perhaps had knowledge that a dangerous rival
would likewise lay claim to Sir Thomas' services. However
this might be, in the last months of the year 1624 there first
appeared at Smyrna, and at the beginning of the ensuing
year actually at Constantinople, William Petty, charged with
commissions from Lord Arundel, and warmly recommended
to the ambassador. This gentleman had been educated at
Cambridge '', and had entered Lord Arundel's service. In
all probability his value had already been proved by luck}'
purchases in Italy before he was sent out to the East with
the new commission". At all events he forthwith impressed
Sir Thomas Roe with his superior practical knowledge,

"* D.iUaway, Of Statuary, p. 277, Petty, married to Thomas Fitzniaurice,

quoting Cole's Athcita Canlabri- Earl of Kerry, was the grandmother

gicnses (MS.). The often-repeated of the first ^Iarquis of Lansdowne.

assertion that this Petty is an ancestor The two William Pettys were not, so

of the Marquis of Lansdowne rests on far as I know, related to one another,
a confusion with the famous Sir '* Chandler, R. , Mannora Oxoni-

William Petty, whose daughter, Anne eiisia, 0.\f. I7')3, p. i.

12 ANCIENT MARBLES IN GREAT BRITAIN. [/, 8

which the latter recognised without reservation. With this
Petty combined an unflinching energy, a power of endur-
ance proof against all exertions and privations, and lastly
a regardlessness in gaining every advantage which Roe was
destined soon to learn to his cost. The latter writes to
Lord Arundel, " There was never man so fitted to an em-
ployment, that encounters all accident with so unwearied
patience, eates with Greeks on their worst days, lies with
fishermen on planks at the best, is all things to all men,
that he may obtain his ends, which are your lordship's
service." And on another occasion, not without bitterness,
" Your lordship had good experience in a man for such an
employment, that spares no pains nor arts to effect his
services."
The Duke 8. It was certainly high time for Lord Arundel to
iifham. transfer his interests to such active hands. Not long before
Petty arrived at Constantinople, GEORGE ViLLiERS, DUKE
OF Buckingham, had preferred to SirThomas Roe a similar
request to that which Lord Arundel had made earlier. The
uncontrolled favourite of King James and his son had en-
tered into competition with Arundel in more than one order
of connoisseurship. In Antwerp he had purchased the
collection of the great Peter Paul Rubens, which comprised,
besides pictures, antique vases, statues and medals™. "At
Yorke House^V' says an eye-witness, "the Galleries and
Roomes are ennobled with the possession of these Romane
Heads and Statues, which lately belonged to Sir Peter Paul
Rubens." In Venice Buckingham had purchases of pictures
effected through the ambassador Sir Henry Wotton, just
as he now laid claim to Sir Thomas Roe's services for the

-" Walpole, /?««(■(/. ch.x. (Rubens). Pictures of George Villiers, Duke of

-' Peacham, H., The Compleat Buckingham, London, W. Bathoe,

Gentleman, 2ncl Impression, London, 1758, there are indeed no antiques,

1634, p. 108. York House in the only a few copies of antiques in bronze

Strand is meant, not the Palace of (pp. 22, 23); but this catalogue com-

Wliitehall, which at that time was prises merely the portion of the old

still often called York House in collection which was rescued from the

addition to its other names. In the storms of the revolution for the young

Catalogue of the Curious Collection of duke.

8,9] EARLY COLLKCrrOXS. I3

acquisition of antique sculptures. Not, to be sure, all
specimens whatsoever without discrimination. For in-
stance, he cautioned Sir Thomas against the purchase of
works in alabaster, as being seldom genuine. " Neither
am I so fond of antiquity as to court it in a deformed or
mishapen stone; but where you shall meet beauty with
antiquity together in a statue, I shall not stand upon any
cost your judgment shall value it at." It is a matter of
course that the ambassador did not neglect the wishes of
the all-powerful minister, but willingly agreed to execute his
directions (Jan. A.D. 1625). At the same time he did not
forget his obligations to Lord Arundel, who had been
beforehand in enlisting his services.

9. Not long afterwards Petty presented himself to Sir Roe's and
Thomas, and soon found out how on the one hand to ^"^o^^ joint plans.
himself serviceable to him by his practical knowledge, and
on the other hand to inform himself as to the ambassador's
plans, and to provide himself plentifully with permits and
letters of authorization such as could only be procured
through the intervention of the ambassador. At first all
went on in perfect harmony, and the two men launched out
together into high-flown and quite romantic plans. When
in our own generation Ponsonby first conceived the idea
of removing the reliefs from the Mausoleum out of the
walls of the Turkish fortress of Budrum, and acquiring
them for England, some regarded this as "an unreason-
able request" to the Porte". Yet how modest this wish
• was compared with the designs of Roe and Petty ! They
proposed nothing less than to get into their power six out
of the twelve large reliefs which adorned the so-called
"Golden Gate," the finest of the gates of Constantinople.
This gate was erected by Theodosios the Great. Through
it the Byzantine Emperors used to make their solemn
entry into the city. But since the conquest by the Turks
it had not been opened, but built up and enclosed with

--' Fellows, The Xanthian Marbles, p. g.

14 ANCIENT MARBLES IN GREAT BRITAIN. [9

new strong works of defence, the so-called "Seven Towers."
Though it had become consequently quite inaccessible, yet
it was still regarded as the principal gate. For about a
year this Quixotic plan cuts a grand figure in the corre-
spondence. To get the consent of the Sultan to the
demolition soon proved to be just as impracticable as the
idea of reaching their object by corrupting the highest
functionaries of State. A clandestine removal with the
help of the soldiers stationed on the spot was impossible
on account of the weight of the marble slabs and the height
at which they were built in. So they had recourse to
stratagem. It was agreed that a Turkish priest should
denounce the figure sculptures, as opposed to the religion
of Mohammed, and so bring about their removal from their
conspicuous position. If once they were transferred to
another place it would not be difficult to get them out of
the way. In fact a priest was engaged for this purpose,
and a sum of 600 crowns proffered in case of success ; a
temporary deposit of 500 dollars being actually made by
way of preliminary. But even this hope proved delusive.
At last the Grand Treasurer, whose coffers could in times
of war take advantage of every extra source of suppl3%
promised to take the matter in hand and to contrive a
clandestine removal. Now however the garrison began to
get uneasy. A superstitious feeling gained ground that in
connection with the removal of the enchanted sculptures a
great mischief threatened the city. There was nothing left,
unless they would expose themselves to serious danger, but
to give up the whole plan. We cannot but regret this, as
the reliefs soon afterwards disappeared altogether. Only a
few of the many visitors to Constantinople ever saw them
again^'; no one has drawn or described them more closely,
so that Roe's tolerably full description consequently retains
some value.

-^ E. g. Wheler, yourney into Voyage ifltaUc Sec, Lyons, 1678, I.
Greece, London, 1682, p. 194. Spon, p. 262.

10, I l] EARI.V COLLFXTIONS. 15

10. Sir Tliomas, who had undertaken engagements In Aiundd
two quarters, considered that he should be keeping faith i„^i,am.
with both parties if he were to divide the fruit of the joint
labours of Petty and himself between Lord Arundel and

the Duke of Buckingham (this indeed was his plan with
reference to the sculptures just mentioned) ; while he
reserved exclusively for Buckingham what he should ac-
quire by himself without Betty's cooperation. To this effect
he entered into agreements with Petty, in which the latter
apparently acquiesced, and submitted like proposals to
Arundel. But the illustrious Earl Marshal, full of pride in
his noble ancestry, was not disposed to entertain the idea
of any such compromise with the detested upstart of whom
he had just begun to find himself the antagonist in the
field of politics. The notion of taking shares with the
new-created Duke was not at all to the taste of the twenty-
first representative of the long line of Earls of Arundel,
who according to the testimony of an adversary "lived
towards all favourites, and great officers, without any kind
of condescension^\" The impassioned collector could not
make up his mind thus to share the spoil for which he
had at first instituted the chase with the rival who had
come later upon the scene. He roundly refused the pro-
posal, to the great embarrassment of Sir Thomas, who
now found himself saddled with the difficult task of serving
two masters.

1 1. Petty meanwhile, after a stay of some months in Pctifs
Constantinople, had set off on his travels. His nominal "'^ *'"■''■
purpose was energetic action for their common interests.

The needful firmans and permits had been got by means
of Roe. But as a matter of fact Petty evinced little
inclination for partnership with the ambassador, and was
probably confirmed in this disinclination by Lord Arundel.
It could not possibly escape him how much more favour-
able the prospects were for himself than for the diplomatist,

-' Clarendon, Hist, of the RchcUion, I. p. 78.

l6 ANCIENT MARBLES IN GREAT IIKITAIN. [l I

tied by his office to the Court and obliged to depend on the
zeal and acumen of his agents. For Petty the road to his
speciar undertakings lay open. His conduct with respect
to the Golden Gate was in the highest degree characteristic.
The reliefs had originally appeared to Roe too much
mutilated to be of value. Petty however formed a far
more favourable judgment of them, and persuaded Roe to
offer for them the sum above-mentioned. Now, while on
his travels, Petty suddenly advised the ambassador not to
apply more than two hundred dollars to that purpose.
The latter, who had in the meantime become suspicious
of Petty's designs, got an inkling of his desire to place
himself in sole possession of the reliefs at a convenient
season. So he gave Petty free leave to withdraw from
their common transactions, but at the same time explained
that he would himself in any case pursue the undertaking
further and at his convenience divide the spoil between
Buckingham and Arundel. When Petty found the ambas-
sador so resolute, he without more ado gave up his objection
and actually went back to the original agreement. His
route took him at first to Pergamon and Samos. According
to his letters to Roe he found only a trifling spoil, frag-
ments of no considerable value. But the ambassador
learnt through other channels that the harvest had been
very rich and highly valuable, and so found himself over-
reached by the "close and subtle borderer." He openly
expressed his chagrin to Lord Arundel (Oct. 20, A.D. 1625).
However he none the less bestirred himself, when Petty
on his voyage from Samos to Ephesos suffered shipwreck
in the narrow strait, and lost not merely his collections but
also his papers, to replace the latter by fresh ones, such
precarious work it was to apply so often for such orders
and permits. Petty himself was not discouraged by his
mischance, but at once resumed his activity. At first he
was put into prison by the Turks as a spy, but soon
managed to satisfy them as to his status and to get

Il] KARLY COLLECTIONS. 17

free. He promptly set to work in Chios and made
preparations for fishing the submerged treasures up again
from the bottom of the sea. In this he seems to have
actually succeeded. Then he betook himself to Ephe-
sos and Smyrna. Here he was lucky enough to make
a valuable haul". One Samson, commissioned by the
rrovcn9al scholar Pcircsc, had not long before acquired a
number of stones bearing inscriptions at the price of fifty
gold pieces. Among these was the extremely valuable
chronological table destined to be known to all the world
as the Marmor Paruim. Through some intrigues on the
part of the sellers Samson had been cast into prison and
the collection had been dispersed. Petty now arrived, and
had the good fortune to bring the specimens together again
and to secure them, though at a high price, for Lord
Arundel. Thence he went to Athens, where he spent the
summer of the year 1626. He there met with an emis-
sary of Roe's. Through him Sir Thomas probably learnt
what Petty had achieved. He writes to Buckingham in
November of that year: "Mr Petty has raked together
two hundred pieces, all broken, or few entire; what they
will prove, I cannot judge." Apparently Petty left the
Levant soon after this, but not before he had despatched
the result of his labours to England, where the marbles
arrived at Arundel House in the year 1627. Here they
forthwith excited the greatest interest, especially the in-
scriptions; and among these again principally the two
large fragments of the chronological table. The renowned
John Selden, the vtagnus dictator doctrinae nationis Anglicac,
undertook the deciphering and interpretation, assisted by
Patrick Young and Richard James. By the following year,
A.D. 1628, appeared Selden's Marmora Arundelliatia,vih{ch.
spread abroad the fame of the inscriptions and of their
collector over all the world ^. (In the same year was born

^ Gassendi, N. CI. Fabricii de Oxf. 1676, pra:f. fol. 5.
Pdresc vita. Par. 1641, p. 227, ad ^ Selden's book unfortunately in-

anntim 1629. Prideaux, Mann. Oxon. eludes only 29 Greek and xo Latin

M.C. 2

efforts.

l8 ANCIENT MARBLES IN GREAT BRITAIN. [ll, 12

the Earl's grandson, Henry Howard, through whom the
collection was subsequently scattered to the winds.) Peiresc
too now learnt what had become of his former property ;
but so far from being envious, he expressed delight that
both the stones themselves and the task of appreciating
them had fallen into such good hands. About the sculp-
tures there was at first less talk.
Roc's 12. In the meantime Sir Thomas Roe most zealously

endeavoured, even independently of Petty, to minister fairly
to the desires of his noble employers. At first he even yet
purposed to let the Earl Marshal as well as the Duke of
Buckingham have his share. But the former, as we can
easily understand, fell gradually more and more into the
background. His and Betty's conduct had aftf r all annoyed
Roe not a little, and moreover Buckingham, as the con-
fidential adviser of the king and leading statesman of the
hour, could throw quite another weight into the scale : —
through his mediation, that is to say, Sir Thomas might well
hope to be recalled as soon as possible from his difficult
and unpleasant post. So we find no letter of Roe's to
Arundel in the collection later than March A.D. 1626;
on the other hand there is an unbroken series of reports
to Buckingham as to the progress of the researches. For
a long time the result was extremely small, although no
pains were spared. These researches extended as far as
Alexandria and Sinope. Some of the chief towns of Asia
Minor, such as Ankyra and Brussa, again Troy and Per-
gamon, the south coast of Roumelia, and the principal
islands of the Archipelago, were searched thoroughly by
the British consuls, by native speculators, by agents specially
sent out. But yet little or no success presented itself;
stones entirely defaced or modern works were purchased
for high prices, or the difficulty of transport frustrated the

inscriptions. This is all the more to tions were utterly lost before copies of
be regretted, because in the following them had been taken,
period a large portion of the inscrip-

12. 13] EARLY COI.I.IXTIONS. I9

hopes of bringing away the heavier specimens from the
interior to the sea. A few fragments of statues, some
heads and reliefs, composed the entire produce, until at
last, at the beginning of the year 1627, a more competent
agent travelled through the Morea. For almost a year
he collected in the different districts of the peninsula and
on the islands, and contrived to inflame the zeal of the
poorer inhabitants : — "Our search has begotten a diligence
and care in all the inhabitants of the Arches and Morea."
Now at length there came to light whole statues, beautiful
and well-preserved specimens, and part at least of these were
successfully conveyed to accessible harbours, such as Patras.
Some, to be sure, had to wait for a better opportunity.
So the efforts of Sir Thomas then seemed after all to be
receiving their reward, but only just in time, as in the
meanwhile his hopes of a speedy recall were realised. He
reported with pride on the handsome acknowledgments
which competent judges paid to his collection ; moreover,
his excellent new agent expressed himself willing and
ready to go on collecting for Buckingham even after Roe's
departure. Suddenly, at the beginning of the year 1628,
the news came that this agent had died at Patras. Fresh
difficulties as a matter of course presented themselves ; the
treasures, which were still scattered far and wide, had to be
secured and collected. Roe must have been glad to be able
to hand the business over for completion to his successor,
who had meanwhile arrived (April, A.D. 1628). On the
27th of June, A.D. 1628, being already in Smyrna, he an-
nounces to the Duke that he is now having the fruit of
the labours of many years put on board ship.

13. Buckingham was destined not to enjoy the s.c- Bucking-
tual possession of these treasures. When they arrived in 1""hi^-s.
London he had already fallen by the hand of an assassin ot/ier col-
(Aug. 23, A.D. 1628). What became of the antiques seems c^ir;."
to be indicated by an undated letter of Lord Arundel to his
Countess, whicli, it would seem, can only be assigned to the

2 — 2

ANCIENT MARBLES IN GREAT BRITAIN.

[13

beginning of the year 1629". Scarcely had the Earl, who was
engaged at Court at the royal palace of Theobald's, heard
of Sir Thomas Roe's return, when he instructed his Countess
to look well after whatever he might have brought with
him in the way of " antiquities, goddes, vases, inscriptions,
medals, or such like," and with this view to get the as-
sistance of the learned Sir Robert Cotton, or at any rate
of a fit and proper person, and that too with all speed, so
that the Lord Chamberlain might not anticipate her. This
dreaded rival was PHILIP HERBERT, EARL OF MONT-
GOMERY, later fourth Earl of Pembroke, destined afterwards
to secure himself a place in the history of art as Vandyck's
principal patron. Vandyck's portrait-group of the Earl and
his family at Wilton House, one of the most celebrated
works of the master, is an appropriate commemoration of
his fame. This Lord Pembroke is, however, otherwise
scarcely known as a collector of antiques. For the rest
we do not know whether Lord Arundel's pains were
crowned with success. If they were. Sir Thomas's exer-
tions turned out after all to be exclusively for his benefit.
We learn, at all events, from these lines that there were
already other connoisseurs of antiques at Court^*. Two

gained admission to Court and was
enjoying the royal favour (Birch, I.
pp. 382, 419, 441, 449). Nothing
consequently stands in the way of
my proposed date. Thus the Lord
Chamberlain was not William, 3rd
Earl of Pembroke, as Tiemey thinks,
but his younger brother Philip, Earl
of Montgomery, who succeeded his
brother in that office a.d. 1626
(Birch, I. p. 123 and fassim, 11. p.
74, Simonds tfE-ues^ Auiobiogr. Lon-
don, 1845, II. p. 189).

-8 From a letter of Lord De
L'IsIe and Dudley, the present o\vner
of Penshurst, to Mr G. Scharf, I extract
the note that there "of antique sculp-
ture a great collection once existed
belonging to the second Earl, but
with many other things has long since
passed away." The Second Earl
OF Leicester, Robert Sidney (a. d.
1595 — 1616), was the father of

^ See Appendix No. 19. The
careful Tiemey {Hist, of Arundel, II.
p. 435) conjecturally places the un-
dated letter in the year 161 9, after
Roe's return from his ambassadorship
to the Great Mogul (Sept. 1619, see
ITiomas Birch, Court and Tijjies of
James I. II. p. igo); yet the an-
tiquities are little in accordance with
such an occasion. The return from
Constantinople occurred after many
perils at the beginning of the year
1629 (Birch, Charles II. I. pp. 409,
415, II. pp. 5, 8); the ship Saftison,
of London, in which he had embarked,
had in November a.d. 1628 already
arrived in London (Birch, I. p. 434).
That the Court in those years fre-
quently resided at Theobald's, is to
be inferred from several letters in
Birch (l. p. 452, II. pp. 03, 24).
In July, a.d. 1628, Arundel had,
after a long period of disgrace, again

13]

EARLY COLLKCTIONS.

Other notices confirm this evidence. The accomplished
Lucy, Countess of Bedford, of whom Ben Jonson
sang, one of the most distinguished ladies of the Court
of the first Stuarts, had likewise laid claim to Roe's
services, that he might enrich her collection of coins
during his stay at Constantinople; and in the year 1626
the sorely pestered diplomatist was able to send her tid-
ings that her wishes had been fulfilled™. Nay, so early
as the year 16 17 mention is made of antique heads in
the possession of SiR Michael Dormer. These were
coveted after the owner's death by other connoisseurs'",
and when in the autumn of A.D. 1616 Lord Roos quitted
England for ever, " he gave the Earl of Arundel all the
statues he brought out of Italy, at one clap"" — so much
better than any one else did the Earl seem entitled to the
possession of such treasures. It is presumably also to be
attributed to the example of Lord Arundel that King
Charles I. likewise collected antiques, besides forming
his wonderful picture-gallery. Before his accession he had
added to the modest beginnings made by Prince Henry, by
purchases of his own, and as a matter of course he had no
lack of presents '". Now, however, in the year 1628, we see
the king likewise turning his eyes to Greece. He had let Roe
go unmolested, but now turned to account the presence in
the Archipelago of his admiral Sir Kcnelm Digby, in order
to get antiques collected for himself in those regions.

Algernon Sidney and of Waller's
Sacharissa. I find neither in Collin
and Blencowe, Sidney Papers, nor
In Ewald, Life of Algernon Sidney,
any mention of those antiques.

-° Appendix No. 12. The Count-
ess was already dead in the following
year. With respect to her of. L. Aikin,
Memoirs of the Cotirt of y antes I. I .
p. 211. Wiffen, Memoirs of the House
of Russell, London, 1833, 11. p. 106,
117.

'" Chamberlain to Carleton, 1617,
Apr. 19 (Birch, James I. II. p. 6).

" Chamberlain to Carleton, 1616,
Oct. 12 (Birch, I. p. 428).

'^ In the Catalogue of Charles I.'s
Collection, p. 17 No. 69, p. 181 No.
8, antiques are mentioned, which the
King had bought when prince. He
had brought with him from Spain a
statue of Faustina (p. 181 No. 9) which
he had obtained on the well-known
journey for a bride. Others he had
bought when King (p. 25 No. 25, p.
26 No. 27) or had received as presents
"of the young Heriott's widow, at his
decease' (p. 12 No. 10, p. 23 No. 14)
or from Lord Cottington (p. 23 No. 1 1,
pp. 28, &c.), probably modern through-
out.

22 ANCIENT MARBLES IN GREAT BRITAIN. [14

PeachanCs 14. Very characteristic of the contrast between these
"c'en'tk-"" beginnings of Engh'sh collections and those of the continent
'"""■" is the distinction laid down by Henry Peacham, a scholar of
Trinity College, Cambridge, in the second edition of his
Complcat Gentleman (a.D. 1634), a survey of all that is
best worth knowing for a gentleman^'. In Italy, he observes,
the antiques are certainly the most beautiful, but owing to
the strict ordinances against their exportation very difficult
to secure. " But in Greece and other parts of the Grand
Signiors Dominions (where sometime there were more Sta-
tues standing than men living, so much had Art out-stripped
Nature in those dayes) they may be had for digging and car-
rying. For by reason of the barbarous religion of the Turks,
which alloweth not the likenesse or representation of any
living thing, they haue been for the most part buryed in
ruines or broken to peeces ; so that it is a hard matter to light
upon any there, that are not headlesse and lame, yet most of
them venerable for antiquitye and elegancy. And here I
cannot but with much reverence, mention the every way
Right honourable Thomas Howard Lord high Marshall of
England, as great for his noble Patronage of Arts and
ancient learning, as for his birth and place. To whose libe-
rall charges and magnificence this angle of the world oweth
the first sight of Greeke and Romane Statues, with whose
admired presence he began to honour the Gardens and Gal-
leries of Arundel-House about twentie yeeres agoe, and
hath ever since continued to transplant old Greece into
England. King Charles also ever since his comming to the
Crowne, hath amply testified a Royall liking of ancient sta-
tues, by causing a whole army of old forraine Emperours,
Captaines, and Senators all at once to land on his coasts,
to come and doe him homage, and attend him in his palaces
of Saint James, and Sommcrset house. A great part of

^' The passage, which is in chapter of Aninclel's children, whom he at-

xn. Of Antiquities, -f"^. 107, 108, is tended into the Low Countries

wanting in the first edition of A. n. (Walpole, Aiiccd., Catal. of Enslavers

162J. Peacham was tutor to the liarl under tlic year 1637).

14, 15] EARLY COLLECTIONS. 23

these belonged to the late Duke of Mantua : and some
of the Old Grceke marble-bases, columnes, and altars were
brought from the ruines of Apollo's Temple at Delos, by
that noble and absolutely complcat Gentleman, Sir Ken-
helme Digby, Knight''."

15. Peacham's remark about the Greek statues in qucs- Lord
tion, that they are generally headless and lame, is confirmed f,-,,-,./
by the condition of the remains of the Arundel collection ^"^'pi'"'"-
at Oxford. Perhaps not a single statue of undoubted Greek
origin among them is preserved with its original head, —
but neither, in truth, can so very many statues discovered
in Italy boast of this distinction. They include, however,
a number of very fair draped statues, which do not, it is
true, belong to the dazzling prime of Greek sculpture, yet
in comparison with Roman draped figures from Italy ex-
hibit the superiority of a fresher and more naif treatment,
and certainly deserve to be allowed the opportunity of
making the most of this superiority by being better placed
for exhibition. They remind the student strongly of sculp-
tures known to be derived from Asia Minor''^ and arc
therefore likely to belong to the collection of specimens
which Petty made there. In order that he might be the
better able to apply these statues to the decoration of his
house, Lord Arundel had them restored, by a fairly quali-
fied artist, to the completeness which they lacked'*. At
this day manifest restorations are here and there to be
recognised, which are as different from Guelfi's later abomi-
nable botchings as day is from night. All the full-length
statues, however, are far surpassed in value by one female

" In the year 1639 the French ^^ This is vouched for by Kennotly,
ambassador de la Haye saw in Delos who is, to be sure, anything but trust-
a statue of Apollo, "-que hs Anglais \so\i\\y (Descr. of Wilton IJoiist;-^. 14).
onl scit'e en deux, de haul en lias, pour It is, however, also confirmed by the
en emportcr une fartie" (Les Voyages statues themselves. Lord Arundel
dti Sieur Du Loir, Paris, 1654, p. 8). employed, amongst others, the sculp-
Thus so early as that time the English tors Hubert le Hoeur and Francesco
were made answerable for all the FanelHuDallaway, ^/«trr/. p. 230), yet
injuries which befell antiques. they were Ixith mainly, if not ex-

'' See below, Cat., art. London, clusively, bronze-founders.
South Kensington Museum, Nos. i, 2.

24 ANCIENT MARBLES IN GREAT BRITAIN. [15, 16

bust, though even this is not entirely uninjured. This was

the only one of the antiques belonging to Lord Arundel

which the engraver VVenzel Hollar, when brought by the

Earl to England and variously employed by him, found

worthy of his burin". Besides this a few Greek reliefs,

especially of the sepulchral class, call for attention ; these,

though not of the very first rank, are nevertheless fine

examples of this attractive class of sculpture.

Increase of 1 6. The formation of the Arundel collection was by

Ha" Its no means brought to a close on the arrival of Petty's Greek

rising marbles in the above-named year 1628. We even learn

fame. ^

that immediately before the outbreak of the civil war a
fresh batch of antiquities arrived^l Petty continued to be
actively engaged on behalf of the Earl even after his return
from the Levant. Some years later he tried hard, though
in vain, to win over the mathematician John Greaves
to Lord Arundel's service. This gentleman had travelled
with Petty in Italy, and was then contemplating travels in
the East. Petty offered him on behalf of the Earl a fixed
salary of ;^200 a year and "such fortunes as that Lord
could heap upon him," if he would accompany him (Petty)
to Greece"'. Notwithstanding Greaves' refusal, the idea of
farther researches in Greece was not given up. The chief
augmentations to the collection came, however, still from
Italy, where in addition to Petty the younger Henry Van-
derborcht collected for Lord Arundel. By this artist, too,
the Earl caused many specimens in his collections to be
drawn or engraved*"; as indeed at that time access to these
treasures was to all appearance made easy for artists in

^ Oxford, Univ. Gall. No. 59. G. the year after that he was Pococke's

Parthey, Wmzel Hollar, BerHn, 1853, traveUing companion.
p. 126 No. 590; the engraving is *^ Walpole, Anecd. ch. ix.

dated A.D. 1645. (Arundel). He also states in the

^' Chandler, Marm. Oxon. p. 1. Catalogue of Engravers to the year

^ Ward, John, T/ie Lives of the 1631 that there was in Paris a collec-

Professors of Gresliam College, luanAow, tion of 567 engravings from objects

1760, p. 337. Greaves was in Italy in the Arundel collection, prepared

probably from A. D. 1633 to 1636; in between A.D. 1631 and 1638.

i6]

EARLY COLLECTIONS.

general". Arundel House became in this way a sort of
sjathering-placc for scholars and friends of art. The
guests at Lord Arundel's house made up for any deficiency
in learned culture on the part of their host■'^ Francis
Junius, who had stayed in his service from A.D. 1620 as
librarian and tutor, first to his youngest son (the ill-fated
Lord Stafford) and subsequently to his grandsons*', wrote
at Arundel's instance his learned work de Pictura Vetcnim
(1637), — in which, singularly enough, we find no allusion to
the antiques of the house. Other scholars, Cotton, Selden,
Young, James, have been already mentioned. There was
also no lack of distinguished visitors. In December A.D. 1628
King Charles and his Queen honoured Arundel House with
a visit, on which occasion all the rooms were inspected".
Foreigners who came to London were welcome guests at
Arundel House, and in their presence the Earl, who had
himself lived a long time abroad, if he showed them his
treasures, laid aside some of that unbending punctilious
dignity which he never threw off in the presence of his
own countrymen". The latter took their revenge in all
manner of sarcasms. One observed that "he was only
able to buy the antiquities, never to understand them*."
Another thought it ridiculous in Lord Arundel "to give so
many hundred crowns for an urn a mason would not have
valued at a penny"." "Sir Francis Bacon coming into the
Earl of Arundel's garden, where there were a great number
of ancient statues of naked men and women, made a stand.

*' Jan de Bisschop (Episcopius) has
engraved several Arundel statues in
his Sii^noritm vetcriim Iconcs, semi-
centuria altera (about A.D. 1670), after
drawings of the younger Jaques de
Geyn, who had travelled in England.

^ This at any rate is the view of
Clarendon, Hist, of the Rebellion, Oxf.
1849, I. p. 78.

''•' Tierney, Hist, of Arundel, 11.
P- 507-

" Tory to Joseph Mead, 162S, Dec.

19 {Rirch, Charles I. I. p. 451).

■"^ Clarendon, Hist, of the Reh.,
I. cit. R. Symondes in Walpole's
Anted, ch. I,x. (Arundel). The fame
of the collection naturally extended
even in foreign countries. See J.
Sandrart, Tcutsche Akademie, NUrn-
berg, 1675, I. p. 41.

*' Clarendon, /. cit.

■"■ Osborn, F., Historical Memoirs,
in liis Works, 7th ed., London, 1673,
P- 497-

26 ANCIENT MARBLES IN GREAT BRITAIN. [l6, 1/

and as astonished cried out: The resurrection^'!" Strange
that on Easter Sunday a.d. 1626 it was the great philoso-
pher's own fate to close his eyes in this very house^'!
General I/. The marbles, which are ahvays brought forward as

'^A^imdef' the most popular division of the Arundelian antiques, are
collection, g^id according to old catalogues to have amounted to
thirty-seven statues, one hundred and twenty-eight busts,
and two hundred and fifty inscribed stones, exclusive of
sarcophagi, altars and fragments™. A portrait painted by
Paul Vansomer in A.D. 161 8 shows the Earl in the act of
pointing with a stick to various statues near him". In a
much later picture by Vandyck, which represents the Earl
and his Countess, there is introduced as a subsidiary figure
the beautiful bronze head of the so-called Homer (more
correctly of the aged Sophokles). This was one of the
choicest pieces of the collection, and has since then found
the place which it merits in the British Museum'^l The
statues were distributed over the house and garden. The
busts were chiefly used for the decoration of the gallery.
The inscriptions were for the most part let into the garden
walls. To the sculptures are to be added two other valuable
classes of objects, namely, the gems and the coins. Arundel
bought Daniel Nice's cabinet, comprising examples in both
these classes, for /'i 0,000 '^^ His collection of coins was
considered quite admirable^, but the fame of the Arundel
gems stood still higher. This collection comprised not less
than one hundred and thirty cameos and one hundred and

•" Works of Bacon, &&.. Spedding, was acquainted with the picture in

VI r. p. 177, from Tftm%oWi Baconiana, Worksop Manor. Another portrait of

1679. the Earl and Countess by the same

^' Spedding, Letters and Life of master is in Anmdel Castle (Waagen,

Bacon, vii. p. 550. Trcas. ni. p. 30).

^'' Kennedy, Descr. of IFilton //ousc, ^- \Va.]pole, A necil. ch. ix. ad fin.

pp.13 — 15, drawn up from papers be- The picture is in Arundel Castle

longing to Thomas Earl of Pembroke; (Waagen, Trcas. in. p. 30).
after whom Dallaway, Anecd. p. 233. '^ Evelyn to Pepys, 1689, Aug.

Sundry errors in their representations 12.

are corrected according to superior ''^ Q\:aenAon, Hist. of the Rebellion,

authorities in the following pages. I. p. 7^*, cd. O.xon.

I"' Dallaway {Anecd. p. 238 note)

17, iS] KARI.V COLLECTIONS. 2^

tliirty-tlircc intaglios. To be sure, far from all the contents
of the cabinet were really antique ; yet of not less artistic
value, at least, than real antiques, were such master-pieces
of the glyptic art of the Cinquecento as the world-renowned
gem with the marriage of Cupid and Psyche, beasing the
supposititious signature of an engraver, Tiyphon''\

1 8. With respect to the antiques of King CHARLES, -^^''-i', ,.

'■ '■ Charles I. s

which Peacham couples with Arundel's, we possess on\y collection of
imperfect information from the catalogue which Abr. Van- tUs'.'^'"'
dcrdoort, keeper of the royal collection in Whitehall, made
about the year 1639^'. At Whitehall was kept the most
unimportant portion of the sculptures, chiefly statuettes
and busts. The catalogue never states whence they were
derived ; nor is it always clear whether they were antique
or modern. This document is supplemented by some
statistical statements in the inventories subsequently made
at the instance of Parliament with a view to the sale of
the collections". According to these, there were in the
residences named by Peacham (a.D. 1634), St James's and
Somerset House to wit, and in their gardens, one hundred
and sixty-nine statues altogether, and as many as two
hundred and thirty more in the Palace of Greenwich.
It is obvious that this large number of nearly four
hundred statues did not consist merely of antiques. Many
were undoubtedly modern works manufactured by Nicholas
Stone and others for the adornment of the gardens and
galleries. To some extent we can still realise the nature
of the collection to our mind's eye by means of a resource
hitherto overlooked. In the Royal Library at Windsor there

''^ Brunn, Geschichte der gricck. ■ pari of il printed, l>y the late ingenious

Kiinstler, 11. p. 635. Mr Vertiie, and now finished from his

'* A Catalogue and Description of papers. I.ondon, printed for W.

King Charles the First's Capital Col- Bathoe, 1757, 4. There are several

lection of pictures, limnings, statues, copies (Brit. Mus. Harl. 7352); a

bronzes, medals, and other curiosities ; portion of the original Ms., with King

ho'lV first published front an Original Charles's notes in his own handwriting.

Manuscript in the Ashmolcan Museum is in the Royal Library at Windsor.

nt Oxford. The whole transcribed and '" Vertue has given extracts therc-

pnpared for the press, and a great from iu his Catalogue.

28 ANCIENT MARBLES IN GREAT BRITAIN. [l8, I9

is a book with drawings in red chall< of statues and busts
which were lost in the burning of Whitehall A.D. 1698^'. The
great majority of these are presumably derived from Charles
I.'s collection. There are drawings of sixty-four statues,
of which the greater number appear to be antique, though
much restored. Others are certainly modern. None of them
are of the first class, but several specimens are not without
interest. The genuineness of the busts, nearly two hundred
in number, is far more open to suspicion. High-sounding
names have been arbitrarily given to them, considerable
ingenuity having been expended in their selection. All the
specimens in this book maintain throughout the character
of antiques or imitations of Italian origin. It may be
that, as Peacham intimates, part of them were derived from
the Gonzaga collection at Mantua, whence Charles, about
A.D. 1629, had obtained the most valuable portion of his
picture gallery''^. Nothing in these drawings suggests Greek
extraction. Among all the vestiges of the royal collec-
tion, I can recognise the signs of Greek origin only in
a single modest monument, which is probably to be traced
to Sir Kenelm's exertions on behalf of the King in the
Archipelago. This is a round pedestal with a Greek in-
scription, from Delos, which at first stood in St James's
Park, later in the gardens of Whitehall".
Vicissi- 19. The zeal both of the King and his Earl Marshal

Royal Col- fo"" the Collection of antiquities was brought to an un-
lection welcome end by the outbreak of the civil war. As early

after 1649. ■' ■'

as A.D. 1645 Parliament attached the Buckingham collec-

^* Cf. Anhaeol. Zcititng, 1874, fuller account of the contents of this

p. 68. The folio volume bears the volume in another place,
title: Drawings of Statues and Busts '^ As to the detennination of the

that were in the Palace at Whitehall date see Waagen, Treasures 0/ Art, i.

before it was burnt. Preserved by Sir p. 7. The acquisition thus occurred

John Stanley, Bart., who belonged to during the confusion of the Mantuan

the Lord Chamberlayne's office at the War of Succession,
time the Palace was burnt down. (He ^'' C. I. G. 2286. Patrick Young

was deputy Chamberlain.) The letter- had seen the marble in the Garden

press is Italian. Eighteen specimens of St James's (a. D. 1633), Prideaux

are mentioned specially by name on at Whitehall (a. D. 1676).
a pj'efatory sheet. I shall give a

19]

KAra,Y COLLECTIONS.

tion at York House. The paintings and statues were
dispersed"'. A similar fate presently befell the royal col-
lection"'. Only a few months after the monarch's death
Parliament decreed the sale of his property, of which the
works of art constituted not the least valuable part (March,
A.D. 1649). Inventories were taken by a special commis-
sion. From these are taken the numerical estimates above
cited. A reserve price was fixed for each work of art, and
in many cases this reserve was tolerably high. A "Corn-
modus in the habit of Hercules," a Muse, and a terminal
figure, were valued at ;{^200 apiece; a "Tiberius Caesar
in the habit of a priest" at ^500, a Silenus even at ^^600 ;
and, as it seems, these pieces were actually sold.*^ The
valuation of the grand total of three hundred and ninety-
nine statues reached the sum of £i7S^9- lO-^- 6^°^. A
large number w-ere unfortunately dispersed. Cardinal
Mazarin is reported to have bought many statues. All
that is certain is that Queen Christina of Sweden purchased
the choice of all the medals and jewels''^ The auctions
dragged on till the year 1653. It is certain however that
far from all the antique sculptures were sold. Parliament
itself had already from the very beginning of the sale
reserved such works "as should be thought fit to be re-
served for the use of the state," and delegated their

" Walpole, A>i£cd. ch. ix. (Charles
I.) according to the yotimal of the
Commons. Catalogue of the Collection
of the Duke of Biukingham, Lond.
1758, preface.

"- For the subject generally cf.
the account given in Walpole's Anccd.
ch. IX. Cf. also Calendar of State
Papers (Domestic), 1649, pp. 10, 70,
170.

^ I borrow these values from a pre-
fatory sheet of the book of drawings at
Windsor, cited in note jS. Walpole,
too, mentions the Tiberius ; Dallaway,
Anecd. p. 232, mentions others.

''■' Catalogue of King Charles I.'s
Collection, p. 7. Waagen, Treasures,
11. p. 467.

" Lord Clarendon is the principal

authority, Hist, of the Rebellion, book
XI. § 251 (IV. p. 547, Oxf.). He
makes the above statement about
Queen Christina; of Mazarin's pur-
chases he only mentions " all the rich
beds and hangings and carpets," of
those of Don Alonzo de Cardenas, the
Spanish Ambassador, " many pictures
and other precious goods." Dallaw.ay
(Anecd. p. 232) reports that they l>oth
bought statues also; with reference to
Mazarin, he probably borrowed this
from the untrustworthy Kennedy,
Description of Wilton House, p. 18.
At that time no such antique sculptures
seem to have gone to Spain. Cf.
\\ iibner. Die ant. Bildwcrkein Madrid,
Berlin, 1862, p. 8.

30 ANCIENT MARBLES IN GREAT BRITAIN. [19

selection to the Council of State. Cromwell exerted himself
more than any one, though not always with success, to
restrain a barbarous squandering of art-treasures. Thus for
instance, on the 13th of February, A.D. 165 1, the surveyor
of the works, Mr Carter, was directed "to take care to bring
twelve statues from James House to bee placed in the garden
of Whitehall, which are to bee such as hee shall find to bee
most proper for that use." This direction was carried out,
and on the i6th of April the twelve statues "worthy to be
kept for their antiquity and rarity" were definitively ex-
cluded from the sale. The above-mentioned sculptures
from St James's Palace also followed soon, when that
building was fitted up as barracks. They were to be
brought "to some other place more convenient"; "the
heads with the pedestalls belonging unto them may be sent
into the gallerie in Whitehall to stand there untill the
Trustees [for sale of the late King's goods] shall make sale
of them'^." In fact they underwent such a sale in the same
year 1651; but Cromwell prevented their delivery to the
purchasers, who after his death laid a complaint before
the Council of State; we do not know with what result".
At any rate an important part of the sculptures remained
in Whitehall, which was, as is well known, the usual
residence of the Protector in his last years. These sculp-
tures formed, we can tell, the nucleus of the royal col-
lection of antiques after the Restoration ; for some of the
statues included in the inventories for the sale of King
Charles's property reappear among the drawings of the
above-mentioned book in the Library at Windsor"*. It is
however evident from this latter that the collection also

^ The documents concerning the ^ The Catalogue of King Charles

transaction in the Record Office have I.'s Collection,^, ■j^y^^a.sigen. Treasures,

been pubHshed by W. Noel Sainsbury, II. p. 467), brings nine statues into

in The Fine Arts Quarterly Review, special prominence; three of which

I. 1863, p. 166; cf. now too Calendar (Nos. 3, 6, 8) recur amongst the draw-

o/StateT'apers(Domestic),i6$i,\>p.^c„ ings, two (Nos. i, 7) were modern

78, 151, 202, 218, 243, 252, 257. copies in bronze.

«' Walpole, /. cit.

19] KAKLY COLLLCTIONS. 3I

received sundry additions under Charles II., through the
agency of the painter Sir Peter Lely"'. On the other hand,
it is not clear how it comes about that those drawings
comprise almost twice as many specimens as the "list of
the Statues in Marble and Figures in Brass, in Whitehall,"
which Will. Chiffinch, of the King's bedchamber, had
drawn up for James 11.'° This list is, at least apparently,
official. While it enumerates only twenty-eight groups
and statues, one hundred and six busts and one relief, the
book contains sixty-four groups and statues and one hun-
dred and ninety-six busts ; moreover the numbers attached
to the several drawings seem to indicate that the collection
altogether contained more specimens than are shown in the
extant drawings. Since, as is well known, a very con-
siderable part of the picture gallery of Charles I. was also
brought together again after the Restoration, it is clear that
the halls and galleries of Whitehall will have contained a
very fine collection of art-treasures so long as it continued
to be the luxurious residence of the court of the two last
Stuarts. Yet it fell out as though this creation of the
dynasty of the Stuarts had been destined not to outlive
their fall. All that grandeur .perished on the disastrous
night of the 4th of January, A.D. 1698, when a fearful fire
destroyed the whole palace except Inigo Jones's Banquet-
ing HalP. Sundry sculptures were rescued and stolen in
the general confusion. This was the case with a crouching
Venus which had been purchased by Lcly; four years later
however it was found and recovered by the Crown''''. But

*' On fol. ■je there is a lead-pencil " Evelyn, Diary, 169S, Jan. 5.

note to No. 88, a crouching Venus, Macaulay, Uisloiy of England, ch.

"bought by Lilly the Painter, with xxill. The equanimity with which

several other his Ma'" rarities." Note King William took the loss is shown

72, III. by aletter to Heinsius of the 7/17 Jan.

'" A Catalogue of the Collection of (old and new style) 1698 in Rankc's

Pictures, &'c., belonging to King £nglisclieGesc/iic/ite,lK.p. 212, indcd.

yaines the Second. London, W. '- Walpole, /. cit. She is to be

Bathoe, 1758, p. loi. The print has found in Chiflinch, p. 108 No. 13.16;

beenmadefromacopyof Vertue's; the among the drawings at Windsor on

original manuscript is in the British fol. 26 No. 88 (see above, note 69) as

Museum, Cod. Ilarl. i8yo. "Elena di Troia." A very beautiful

32 ANCIENT iMARBLES IN GREAT BRITAIN, [ig, 20

the collection of Charles I. as a whole was utterly and
irretrievably lost.
ThtArun- 20. The Arundel collection fared somewhat better.
tionduring'^^^ Earl Marshal had quitted England for ever A.D. 1641,
fuin""''"' ^""^ ^'^^^ ^°°" afterwards (A.D. 1646) at Padua. A valuable
portion of his collections, the gems and jewels, had pre-
viously been taken to Holland for safety ". By the Earl's
will all his goods were left to his Countess Alathea to be
at her own disposal absolutely, the greatest part of them
having been purchased with her money". Most uncom-
fortable relations subsisting between the mother and her
eldest son Henry Frederick, the new Earl, are said to have
brought about a partial breaking-up of the collections, yet
this is by no means certain". Again, it is not clear whether
the antiques were divided at once or rather after the death
of the old Countess "°. One share fell to the mother's favour-
ite, her younger son, William Howard, Viscount Stafford,
and was removed to Tart Hall, a house situated in the
neighbourhood of Buckingham Gate, which the Countess
had had built for her A.D. 1638 by Nich. Stone". This
part of the collection remained there until A.D. 1720, when
after the death of Henry, Earl of Stafford, eldest son of the
hapless Viscount, all the contents were sold by auction.
On this occasion Dr Mead purchased the above-mentioned
bronze head of " Homer." Works in marble appear by the
sale-catalogues not to have been included in this portion
of the property '^ In any case the majority of the sculp-

relic of King Ch.irles's collection is the "* Evelyn, /. dt., but Tierney, /.

magnificent cameo with the portrait «'/., contradicts him.

of the Emperor Claudius in Windsor "^ Walpole, /. cit. Dallaway,

(Fortnum in the Archaeologia XLV. Anecd. p. ■234.

pi. i). '^ Walpole, Aticcd. ch. viil.

'^ Evelyn, Letter to S. Pepys, 1689, (Stone).
Aug. 12, mentions Amsterdam; Wal- '** Walpole, Anecd. ch. IX.

pole, Anecd. ch. IX. (Arundel), Ant- (Arundel), had seen a printed cata-

werp. Pictures also were sent there. logue, which was miserably drawn up,

See Causton, The ffmuard Papers, p. with the prices, in the possession of

56. Mr West ; he states the amount of the

'* Tierney, Hist, of Arundel, II. proceeds , it ;^6,535; Dallaway, ^//eca'.

p. 503. The will is published in p. 239, O/'i'te/Hary, p. 284, mentions,

Howard, Ch., Historical Anccdctcs, after Howard's Historical Atucdotes,

London, 1769. ;^8,852. \\s., and gives the several

20, 2l] EARLY COLLECTIONS. 33

tiires, as indeed of the aiiticjues generally, remained in
Arundel House as the heritage of the eldest son. There
fresh dangers threatened them. For by order of Parliament
the entire property of the Arundel family was laid under
attachment, a.d. 1651, and, just as in the case of the king's
collections, an inventory of the " several] goodes, picktures,
and statues at Arundell House in the Strand" was pre-
pared. Indeed, owing to " the recusancy of Alathea, late
Countesse Dowager of Arundell and Surrey," the proposal
of sale was again raised two years after her death (A.D. 1656),
and to some extent at least was carried out ™. However,
to all appearance only pictures were dealt with by this
measure; the antiques most likely suffered damage through
insufficient supervision on the part of the owner and negli-
gence on that of his personal attendants rather than by
direct measures of the government *".

21. By the time that the Restoration had put an end Thencgled
to the insecurity of personal property, the Earl Henry !"
Frederick had died (a.d. 1652). His eldest son, Thomas ^'-'^yvw"
Howard, who was reinstated by Charles H. in the old family o^",/.'
dignity of the Duchy of Norfolk (A.D. 1662), resided as a
lunatic at Padua, where he died (a.d. 1677). The care of the
family property consequently devolved upon the second
son, Henry Howard, whom his father had already regarded
as his future heir and successor*'. To his charge then
Arundel House with its costly collections was entrusted.
But he had nothing in common with the artistic interests
of his grandfather. The derangement of the property and
family circumstances explain his paying no heed to a pro-
posal *", which came from a thoroughly friendly quarter, to
make the statues known to the world by an illustrated

cl.isses; for example, Jewels and 1664, March i, in Brit. Mus. Sloane

Curiosities ^^2,467. 1$. \ad.. Medals MS. 1906 (Causton, The Howard

£ia. \os. 6d. Papers, p. 143).

'' See Sainsbury, W. Noel, in The *' Causton, The Howard Papers,

Fine Arts Quarlcrly Rcviciu, I. 1S63, p. (t},.

p. 168, " Extracts from the Documents "- EveI)Ti, in letter to Henry

of the Record Office." Howard, of Norfolk, 1667, Aug. 4.

*° Cf. Edw. lirowne's youriial,

M. C. ;

34 ANCIENT MARBLES IN GREAT BRITAIN. [21

publication. The carelessness with which the venerable
relics were allowed to perish was inexcusable, nay abso-
lutely criminal. The inscriptions, which Selden's book
had made especially famous, were "miserably neglected
and scattered up and down about the garden and other
parts of Arundel House, exceedingly impaired by the
corrosive air of London "^ ". Many were destroyed, others
stolen ; indeed they were so little regarded that on the
repair of the house they were used as building material !
In this way the upper half of the very valuable Marnior
Parium disappeared in a chimney of the palace, and it
would have been utterly lost to the learned world had not
the diligence of Selden and his friends discovered it be-
times*^ The heir behaved with equal carelessness with re-
spect to the famous library of his ancestors, " suffering the
priests and everybody to carry a\\ay and dispose of what
they pleas'd, so that abundance of rare things were irre-
vocably gone ^." Under such circumstances it was a veri-
table deliverance that an old friend of the family, John
Evelyn, used his influence with the owner to such purpose
that he assigned his treasures to safe hands, more, it is
true, in indifference to their value than from high-minded
liberality. In the year 1667 the library was at Evelyn's
instance presented to the Royal Society **, which had not
long before been founded. The presentation of the mar-
bles to the University of Oxford followed. They comprised
" all those stones, coins, altars, &c., and whatever had in-
scriptions on them, that were not statues," inclusive of the
slabs let into the garden walls". This collection had once
consisted of two hundred and fifty inscribed stones. But of
these only one hundred and thirty-six arrived at Oxford"".
The remainder had been lost in those few decades ! The

*' Evelyn, Diary, 1667, Sept. 19, ^ Evelyn, Diary, 1667, Jan. 9,

.ind in the letter quoted. Mar. 4, i67<S, Aug. 29.

" Prideaux, Marmora Oxoniensia, ^ Evelyn, in letter to H. Howard,

Oxf. 1676, preface. 1667, Aug. 4. Diary, 1667, Sept. 19,

*'' Evelyn, Diary, 1678, Aug. Oct. 8, 17, 25.

29. ^ Prideaux, /. cit.

21, 32j KARI.V COU.KCTIONS. 35

University did not fail to bestow academic iionours on the
giver of the donation as well as on Evelyn who had sug-
gested it. The marbles themselves retained the honourable
name of Marmora Arnndcliana. Yet even there they
at first found only partial protection, "inserted in the walls
that compass the area of the [Sheldonian] theatre®"." It
was no sufficient amends for this treatment that the Uni-
versity had them edited afresh by one of her scholars in a
folio volume, which was dedicated to Lord Henry Howard™.
It was not until a much later period that the stones were
brought out of the open air into a room in the neighbouring
Schools, where they lay for a long time promiscuously in
utter disorder, until at last most of them were built into
the walls ; others, quite separated from their old compa-
nions, must to this day be sought in a damp basement room
of the Ashmolean Museum, which lies near the Schools.
The various collections which especially belong to this
Museum were presented to the University ten years later
than the Arundelian marbles.

22. The donation of the inscriptions was only the be- Dispersion

ri 11- ,-A ofthcivhole

gmning of the dispersion of the collections of Arundel colkciion.
House". In the \-ear 1678 Lord Henry, now 6th Duke of
Norfolk and Earl Marshal, resolved to pull down the old
family seat with a view to the laying out of streets (Arun-
del Street, Norfolk Street, .Surrey Street) and the erection
of dwelling-houses on the land. A part only of the garden
next the river was reserved for the site of the new ducal
palace (Norfolk House). The antiques were now got rid

*" Evelyn, Diary, i6rt9, July 7— " Most of the details of the foUow-

i;. H. Howard had already received ing account are ta'ken from a letter

the degree of D.C.L. on June j, A.D. from James Theobald to Lord

1668 (Wood, Fasti, 11. p. .503). Willoughby de Parham, P.S.A., 1757,

'" Marmora Oxoniensia, ex May to, which is copied in Howard,

Arundellianis , Scldenianis aliisque Ch., Historical Anecdotes of some

conflata. Rec. et cxpl. Humphridus of the Ilo'oard family, London, 1769,

Prideaux. Oxf. i676,foI. The book PP-9' — no. On thispointcf Walpole,

comprises besides 14 inscriptions be- Anecd. ch. IX. (Arundel). Kennedy,

queathed by J. Selden or presented by Description of IVillon House, p. xv.

sundry benefactors. A gift also of the Dallaway, Aiucd. p. J36. Causton,

well-known Oriental traveller George J/rward Papers, pp. 176, 189.
Wheler was soon added |A. D. 1683).

3—2

36 ANCIENT MARBLES IN GREAT BRITAIN. [22

of, probably all the more recklessly that by the following
year the Duke went to reside for a long time out of
England, in consequence of the measures taken by Par-
liament after the Popish Plot'^ As no purchaser came
forward for the whole quantity, a partition began. The
majority of the busts, together with a number of statues
and bas-reliefs, which had adorned the gallery, were bought
by Thomas, Earl of Pembroke. We do not know accu-
rately when this purchase was made. A few of the statues
were appropriated after the Duke's death (a.D. 1684) by his
widow, whose second husband, Col. Maxwell, wanted four
years later to have them sold by auction ; but the new
Duke protested against this™. The remainder were at
first brought over into the reserved part of the garden,
partly under a colonnade which was situated there. Yet
the emptying of the house was carried on with such remiss-
ness, that broken statues and sarcophagi, remnants of the
Arundel collection, were found ten years later in the cellars
of the newly-built houses in Norfolk Street. Tlie statues
under the colonnade fared ill indeed. " When the workmen
began to build next the Strand, in order to prevent in-
croachments, a cross wall was built to separate the ground
let to building from that reserved for the family mansion ;
and many of the workmen, to save the expense of carrying
away tlie rubbish, threw it over this cross wall, where it fell
upon tlie colonnade, and at last by its weight broke it
down, and falling on the statues, &c. placed there broke
several of them." In spite of this sad mishap a purchaser
was found for the greater part in the year 1691 °', in the
person of Sir William Fermor, afterwards Lord Dempster.
He had them brought to his country seat, Easton Neston,
near Towcester, Northamptonsliire. The purchase money

"'- Causton, /. cit. p. 202, quotes hu're with the facts to be next men-
Pennant as follows : " During the tioned ?

madness of the popish plot, the statues "^ Causton, /. cit. p. 269, quotes

were buried : the mob would have to this eflfect the yournah of the

mistaken them for popish saints." House of Lords, xiv. pp. 105, 106.
Way not there be some confusion "* Evelyn, Diary, ifiyi. Mar. 21.

22]

EARLV COI.LIXTIONS.

was extremely small, being only ;^300 ; but the Duke's
want of cash was so pressing, that he did not hesitate to
close the bargain"^ Of the remainder a few broken statues
were given by the Duke to a servant of the family named
Boyder Cuper, who used them for the decoration of a
pleasure-ground which he kept, called Cuper's or Cupid's
Gardens, in Lambeth, opposite Somerset House'*. Here
they subsequently (a.d. 17 17) attracted the attention of
two lovers of art, John Freeman Cook, of Fawley Court,
Henley on Thames, and Edmond Waller (of the poet's
family), of Beaconsfield. These gentlemen bought the
specimens for ^75, divided them between themselves, and
conveyed them to the two places mentioned. Lastly,
whatever statues and fragments remained in the gardens
of Arundel House after these repeated dispersals, the Duke
of Norfolk had removed across the Thames to a piece of
ground at Kennington which he held on lease. In this
situation the marbles were gradually buried under deep
layers of rubbish intended to protect the ground from the
inundations of the neighbouring river. After a conside-
rable lapse of time, when houses were being built on that
site, several of these specimens were again brought into
the light of day. This was their second disinterment, their
first having been from the soil of Greece. They then passed
into the possession of that famous lover of art, Lord

'"' With respect to the Duke's want
of cash, seeCauston, /. ci't. pp. 238, 246.
Walpole, Horace, Anecd. ch. I.\.
(Arundel), and Howard, Henry,
Family Afemorials, 1836, p. 41,
ascribe the sale to the Duchess, who
was in need of money. She was,
according to their own testimony
. (Causton, p. 238), not in England at
/ all till the autumn of A. D. 1691 ; still
the matter is not free from doubt (see
ibidem, p. 260).

*' Cunningham, Handbook of
London, iii-,o, p. 150. The garden
no longer exists ; see Horace Walpole's
letter to Montague, 1746, June 24
(/.liters, ed. Cunningham, n. p. 32).

According to Dallaway, Of Statuary,
p. 282 note n, "the marbles placed in
Cuper's Garden were drawn and en-
graved for the last edition of Aubrey's
Antiquities of Surrey." I am only
acquainted with the edition of 1719,
which contains no such engravings.
Smith (Nollekcns, \\. p. 201) mentions
etchings of several of the Arundelian
fragments given in Nichols. History of
Lambeth. Cf. also Ince, No. 64. In
the year 1854 W. P. Willi.ims Free-
man, Esq., presented to the British
Museum a statue (Graeco- Roman
Sculp. No. 9) said to have been
formerly in the Arundel collection
{Synopiis, 63rd ed., i8j6, p. 88). .

and gevis.

38 ANCIENT WARBLES IN GREAT BRITAIN. [22, 23

Burlington, who had them brought to Chiswick. Indeed
at Lord Petre's suggestion a regular excavation was made,
in the course of which there were "discovered six statues,
without heads or arms, lying close to each other, some of
colossal size, the drapery of which was thought to be
exceeding fine." These torsi were removed to Worksop
Manor, the seat of the Duke of Norfolk, where they
probably perished in the great fire of A.D. 1761'^'. Other
specimens were dispersed at other times. One fragment
of a pillar actually came to be used as a roller for Mr
Theobald's bowling-green at Waltham Place, Berkshire.
Sic transit gloria mitndi.
The coins 23. Thus the marbles of the first collection of antiques

in England were scattered to the winds — an example and
a warning of the insecurity which attaches to such property
when in private hands. It fared no better with the other
departments of the collection. "The coins and medals
came into the possession of Thomas Earl of Winchelsea,
and in A.D. 1696 were sold by his executors to Mr Thomas
Hall^^" It is not known what became of them subsequently.
The fortunes of the celebrated collection of gems were par-
ticularly strange. It had with the exception of a few pieces
remained in its original condition"". When the Duke of
Norfolk, after scandalous litigation which extended over
many years, obtained in A.D. 1700 a divorce from his wife
Lady Mary Mordaunt, she kept as security for her claims
on the Duke, according to the terms agreed to between the
parties, "a box of jewels of great value which had belonged
to the old Duke"°," that is to say about two hundred and

°" Causton, Hmvard Papers, p. collection of coins belonging in A.D.

324, where it is also said " The statues 1719 'o the Earl of Winchelsea, at

of the Arundel collection have been that time Heneage, the 5th Earl, is

preserved to memory by the etchings mentioned by Haym, Tesoro Britan-

of Dr Ducarel." nice, 1719, I. p. xi,

98 Walpole, Anecd. ch. ix. *•» Walpole, /. cit., Story-Mas-

(Arundel). Earl Thomas is not meant, kelyne, The Marlborough Gems, 1870,

for he was dead by a.d. 1630, but his pref.

son, John Heneage. .srd Earl, who "'° I.uttrell, Diary, iv. p. 6:2.

died A.D. 1689. Besides this another

23, 24l EARLY COI.I.FXTIONS. 39

fifty cameos and intaglios of cither antique or Renaissance
workmanship. As the Duke died in the following year
without having yet discharged his obligations, Lady Mary
treated the gems as her own property and bequeathed
them A.l). 1705 to her second husband Sir John Germain.
He in turn left them to his second wife Lady Elizabeth
Berkeley, who in A.D. 1762 presented them as a wedding
gift to her great-niece Lady Mary Beauclerk, on the oc-
casion of her marriage with Lord Charles Spencer. Lastly
this lady made over the costly collection to her brother-in-
law George Spencer, 3rd Duke of Marlborough, in accord-
ance with a family arrangement. Thus the old Arundel
collection, after having passed in the course of time through
so many hands, formed the nucleus of the famous Marl-
borough gems. These were transferred, so recently as
the year 1875, into the possession of Mr Broomielow, of
Manchester, and are now kept at his country seat of
Battlesden in the neighbourhood of Woburn.

24. We must however return to the marbles. The The
portion which Lord Lempster had bought and taken to „u,rbles.
Easton Neston was here visited by a melancholy fate. The
purchaser's -son Lord Thomas, afterwards first Earl OF
POMFRET, having been in Rome, conceived the unhappy
idea of having the statues, which in truth had suffered
severely, restored in the Italian manner. He therefore
engaged a scholar of Camillo Rusconi, one Guelfi, whom
Lord Burlington had brought over to England about A.D.
1 7 14, to do the W'Ork. It could not easily have been en-
trusted to more unfortunate hands. Great as has been the
blundering perpetrated in all quarters in the shape of
so-called "restorations," yet hardly ever have any antiques
been so shamefully tampered with as in the tasteless addi-
tions made by this shallow botcher. Even subsequently
the protection afforded to the marbles was very insufficient,
as we learn from a description by George Vertue, who paid
the house a visit probably in A.D. 1734. The small statues

40 ANCIENT MARBLES IN GREAT BRITAIN. [24

and busts fared best. These, as for instance the so-called
"Marius," were employed for the adornment of the hall
and staircase of the house. A large number of the sculp-
tures were set out along the garden front of the house, or
in the various parts of the garden itself, and so once more
exposed to all the decaying influence of the damp climate"".
No wonder if the traces of such gross negligence are but
too manifest at the present day. Special attention was here
aroused by the "Tomb of Germanicus," that is to say, a
very ordinary Roman sarcophagus, on which had once
stood in Arundel House a genuine or supposed bust of
that Prince found in Ankyra"'', and which now retained its
silly name though a small statue of Jupiter had succeeded
to the place of the bust in question. The majority, however,
were contained in a conservatory "full of statues, busts,
bassorilievos, urns, altars, crammed full, and lying con-
fusedly as if it was the shop of a statuary!" Here stood
in one corner the supposed Cicero "with his handkerchief
in his right hand," in another the colossal Minerva, against
the walls a number of other statues, with fragments of bas-
reliefs scattered about over the floor, &c. &c. The impres-
sion conveyed is effectively described by the young Horace
Walpole: "in an old green-house is a wonderful fine statue
of Tully haranguing a numerous assembly of decayed em-
perors, vestal virgins with new noses, Colossus's, Venus's,
headless carcases and carcaseless heads, pieces of tombs, and
hieroglyphics™." The gardener and housekeeper, the usual

'"^ A Descriplion of Easion N'eston '"' Walpole to G. Montague, 1736,

hi Norlhamptonslure, the seat of the May 20. Cf. the same to H. Mann,

Right Hon. the Earl of Pomfret, 1753, July 21: "The Cicero is fine

printed as an appendix to the Cata- and celebrated; the Marius I think

logue of the Collection of the Duke still finer. The rest are Scipios, Cin-

of Buckingham, London, Bathoe, 1758, cinnatuses, and the Lord knows who,

pp.53 — 59. The time of the visit seems which have lost more of their little

to follow from the enumeration of value than of their false pretensions

Vertue's travels in Horace Walpole's by living out of doors; and there is

Aiucdotes (Vertue). a green-house full of colossal frag-

'"^ Chandler, R., Marmora Oxoni- ments."
ensia, p. vii. No. CL.

24] EARLY COLLECTIONS. 4 1

ciceroni for luiglish art-collections, were able to tell Vertuc
the high prices which would be asked for some of the figures.
No wonder, if such a curious kind of sculpture-gallery had
really been taken for a shop! But at least the fate of dis-
persal was spared to this portion of the Arundel collection.
For when after the death of the Earl of Pomfret his son
and successor, being deeply in debt, was obliged to sell the
furniture of Easton Neston, the Countess dowager Hen-
rietta-Louisa bought the statues and presented them to the
University of Oxford (a.D. 1755). The chief portion of
the Arundel sculptures were thus once more brought to-
gether with the inscribed stones of the same collection'"*.
The University did honour to the donor in a solemn actus,
of which Horace Walpole has again given us an ironical
description '°°; and made provision for a handsome publica-
tion by the learned Hellenist, Richard Chandler"*, of its
collection of antiques as thus enriched. The sculptures
themselves, however, remained in the Schools for more than
a century in a confusion similar to that at Easton Neston.
Now at least they are disencumbered from Guelfi's restora-
tions, and for the most part arranged. Only, however, by
far the smallest number of specimens are in the well-lighted
ground-floor rooms of the magnificent University galleries;
most can ohly be found after wearisome search in the
gloomy cellars of this palatial building, even into their
darkest recesses. We hope that this is the last stage of
ill-treatment which the famous Arundel marbles have had
to suffer, and that for them there may even yet be at
some time a day of final resurrection.

"* Walpole to TI. Mann, 175,";, ^4. Cf. 1762, Jan. 4, on the wish of

March 10. In Easton Neston there the Countess to be buried in Oxford :

remains a memorial of the sculptures — "I dare say she has treasured up

in the wall-paintings of the staircase some idea of the Countess Matilda,

by .Sir James Thornhill, who has in- that gave St Peter his patrimony."
troduccd a number of the antiques of "*" Atarmora Oxoniensia, Oxford,

the Pomfret collection in his series of 17631 fol. Here Guelfi's abominable

pictures illustrating the history of restorations have been immortalised.

Diocletian. It is only quite lately that they have

•'" Walpole to H. Mann, 1756, July been done away with.

42 ANCIENT MARBLES IN GREAT BRITAIN. [25

Thomas, 25. In this respect it fared best with that section of the

Pembroke. Arundel marbles which had come into the possession of
Lord Pembroke. To the love of art, by which more than
one member of the Herbert family has distinguished himself,
Wilton House bears conspicuous testimony. William, the
first Earl, had Holbein for his adviser with respect to the
building of his mansion in place of the ancient abbey.
Philip, the fourth Earl, likewise employed Inigo Jones as
architect, and was the most distinguished patron of Van-
dyck. He laid the foundation of the noble picture-gallery.
We have before observed (p. 20) from a casual remark of
Lord Arundel's that he also turned his attention to antiques.
The Grand Duke of Tuscany, who had been his guest for
three weeks at Wilton House, is said to have made him a
present of some statues"". But THOMAS HERBERT, EIGHTH
Earl of Pembroke (sncc. a.d. 1683), was the real founder
of the collection of sculptures, which equally with the pic-
ture-gallery constitutes at this day the fame of Wilton
House; he also spared no pains or expense to form a
very rich cabinet of medals"". He can in this respect be
designated as the most distinguished imitator of Lord
Arundel in this early period. He too, like Lord Arundel,
knew Italy from personal observation. He seems to have
acquired the basis of his collection of antiques by the pur-
chase of the sculptures in the gallery of Arundel House.
It consisted chiefly though not exclusively of busts. For
these Lord Pembroke, like many collectors of that time,
had a particular enthusiasm. He found a great satisfaction
in seeing himself surrounded by the great men of old in
effigy, in the same manner as his walls were crowded with

'"'' I find this notice in Volk- Evelyn, who was in 1654 at Wilton,

mzxai, Neucste Rcisendurch England, only mentions "the court and foun-

Leipzig, 1781, 1, p. 482, without being taine of the stables adorn'd with the

able to trace its origin. Of the two [antique?] Cossar's heads" (Diary,

works named therein one (Wilton No. i554, July 20).

70) is certainly derived from the Ma- '"* Aides Pembrockiance, London,

zarin collection; about the other, a '774, p- 93- A^umismala Pembroki-

Flora, I cannot ascertain anything. ana, 1746. 4.
The whole account is very suspicious.

2 5, 26] KARI.V COI.LKCTIOXS. 43

the portraits of illustrious members of the family and other
contemporaries. To satisfy that predilection, he was, it is
true, liberal in bestowing great names upon busts impos-
sible really to identify. This characteristic of the Earl is
found also in the most celebrated bust-collector of Rome,
Cardinal Alessandro Albani, who could not bear a bust
to be nameless, and on account of his eagerness in chris-
tening unknown heads was occasionally designated by
Winckelmann as "the audacious priest" (Jiccker Pfarr-
hcrry^. "An ancient virtuoso," remarks Horace Walpole"",
"indeed would be a little surprised to find so many
of his acquaintances new baptized. Earl Thomas did not,
like the Popes, convert Pagan chiefs into Christian ; but
many an emperor acts the part at Wilton of scarcer Cae-
sars." And yet even this is not the worst. A great part
of these high-sounding names arc bestowed upon works
manifestly of the sixteenth or seventeenth centuries; for
perhaps no other collection in England is so well supplied
with false antiques as that in Wilton House.

26. The eighteenth century was destined to bring The
important accessions to the collection, above all by the 'colUcUon.
purchase of a great part of the Mazarin cabinet. Strange
to say, Lord Arundel's name was connected with these
sculptures too. He had once, that is to say, helped Car-
dinal Richelieu with advice and practical aid in the col-
lection, in Italy and especially in Rome, of his much-
admired gallery of sculptures. The Earl Marshal had,
it is said, given the Cardinal the opportunity of buying a
whole palace in Rome, the antiques from which the latter
forthwith had conveyed to Paris, and had moreover
given him information as to about eighty busts in dif-
ferent parts of Italy'". After Richelieu's death (a.D.
1642) the sculptures out of the Palais Cardinal, which
was subsequently, as is well known, the Palais Pojal,came

"" Winckelmann, letter to Muzel- '" Kennedy, Dcscrijition of Willon

Stoscti, 1760, Jan. ^. House, p. xvii.

"" Anecdotes (Vcrtuc).

44 ANCIENT MARBLES IN GREAT BRITAIN. [26

into the possession of his successor Cardinal Mazarin. He
made additions to them by further important purchases in
Rome, and employed them all for the adornment of the
neighhouring Fn/ais Masan'n newly huilt byhim"^ Nearly
four hundred sculptures were here altogether. Among
these were about one hundred and sixty statues and more
than two hundred busts, the latter mostly provided with
modern drapery of costly variegated kinds of marble, and
placed on correspondingly rich pedestals. Among the heads
themselves there were indeed very many modern works.
The lower gallery of the palace as well as the adjoining
rooms were filled exclusively with sculptures, while the
gallery on the first floor was furnished with statues only
in the niches, but for the rest was chiefly adorned with
pictures and other works of art. The whole was regarded
as one of the greatest sights of Paris, as the mcrvcille dc
la France. Yet the fortunes of the collection were hardly
less varied than those of the contemporary English collec-
tions. During the war of the Fronde, when Mazarin was
obliged to leave Paris and even France for a time, a part
of the sculptures was sold and dispersed (a.D. 1652) ; but
so great was the dread inspired by the all-powerful minister,
that after his return all his scattered property was delivered
up to him again. When the Cardinal died in A.D. 1661 the
antiques were valued at 150,000 livres. They fell in equal
shares, as did the whole palace, to the Due de Mazarin
with his wife, a niece of the Cardinal's, and her brother the
Due de Nevers. The former, a rough and half-crazy man
who lived in a perpetual state of quarrel with his wife, took
advantage of the absence of the co-heiress to enter the
gallery one fine morning armed with a large hammer, and
to belabour the undressed statues in a fit of pretended

^'^ For the Mazarin collection cf. d'Aumale]. London i86r. H. Saii-

Inventaire de tons les meublcs du Car- val, Histoire ct Rechcrches des Anti-

dinal Mazarin. Dresse en 1653 [by cpiites de la ville de Paris, Paris

J. Bapt. Colbert] el publie d'apris 1724, u. pp. 175 — 177 (written about

^original conserve dans les archives 1654). Laborde, le Palais Mazarin,

de Condi! [by Henri d'Orleans, due Paris 1846, p. 185, note 68.

26] EARLY COLLECTIONS. 45

prudery; not content with tliis, and regardless of all re-
monstrance, he returned in the evening with five or six
attendants all armed in like fashion, and carried on his
crack-brained work of destruction till midnight. Whatever
was naked, male or female, fell a victim to his mad fury,
and he only allowed the draped figures and busts to remain.
This happened in the year 1670'". The scandalous event
made the greatest sensation in Paris. However, the mis-
fortune had occurred and could not be undone. It was not
in the least lessened, but only relegated to the region of
the comic, by the nude statues being " frocked" in a sort of
drapery of plaster of Paris, just as the Pope's sense of
decency a hundred years later enveloped the Aphrodite of
Knidos in a cloak of tin. For a long time the antiques
in the Palais Mazarin continued to stand in that ridiculous
disguise. In this state the well-known naturalist, Dr Martin
Lister, saw them in A.D. 1698, and the sight elicited from
him some ironical remarks"''. Subsequently, perhaps when
the palace was purchased by the Compagnie des Indes and
became the show place of John Law's bubble company,
Lord Pembroke secured a large portion of the sculptures,
while the rest remained in the palace up to the time of
the French Revolution "^ The Earl had here too made
the busts his chief object, purchasing them to the number
of fifty-two with their costly variegated marble pedestals.
But his predilection furnished most of them with new
names. Even at the present day busts of this origin at
Wilton House can for the most part be recognised with
tolerable certainty, but still more unmistakeable evidence
of their source is borne by the statues derived from the
Mazarin collection, some of them still furnished with the
numbers they originally bore there, in the hammer-marks

'" Milatige cur'uux des meilleures '" Blondel, Architecture franfaise,

piices attribtties cl Mr. de Saint-Evre- Paris 17.S4, HI. p. 71. It appears to

mond, 3rd edition, Amsterdam 1726, liavo given a catalogue raisoim^, cf.

II. pp. 272, 307. Kennedy, Descrijitionof Wilton House,

"' A Journey to Paris in the year p. xii.
1698, London 1699, p. 29.

Anliijucs

Wilton
House.

46 AXCIEXT MARBLES IN GREAT BRITAIN. [26, 2/

with which their nude parts are disfigured. Some reliefs
also were bought by Lord Pembroke at the same time.
The 27. Lastly the Earl completed his gallery by the pur-

chase of single pieces. When the Giustiniani family of
Rome began to sell the antiques of their superabundantly
rich collection, which was estimated at thirteen hundred
pieces, Pembroke was among the buyers, along with the
most distinguished of the antiquaries of Rome, Cardinal
Alessandro Albani. Some few busts were contributed by
the collection of sculptures belonging to the honourable
but then lately impoverished family of Valctta in Naples,
which was sold A.D. 1720, it is said, for iioo ducats"". One
of these acquisitions was the very effective bust bearing the
arbitrary name of Apollonios of Tyana (Wilton No. 94), for
which was paid the high price of ^^^270. Sir Andrew
Fountaine, a friend of Lord Pembroke, brought with him
from Italy a rare specimen, a mosaic relief (No. 27), clearly
a modern counterfeit, but in any case a great curiosity,
worthy to shine amongst the other treasures of Wilton
House"^ All these works were distributed over the halls,
galleries, saloons and rooms of the spacious mansion, and
provided the favourite amusement of the owner. Unfortu-
nately the Earl was not satisfied with christening and
re-christening the statues and busts on labels placed on the
pedestals, or in catalogues, but often the newly forged
names were chiselled into the monuments themselves, some-
times in Latin, sometimes in extremely questionable Greek.
This has even been done in the case of a cinerary urn, which
its inscription would authenticate as that of Horace ! It
was another ingenuous development of this taste to ascribe
pieces of middling decorative sculpture to artists of high re-
nown, as for instance Kleomenes "^ or to assign to a work

"^ There seems to have been a Museum, xxix. 1S74, p. jfii &c.

catalogue of the collection by Fa- In Wilton House there are two busts

bretti, v. Kennedy, /. cit. p. xviii., cf. of .Sir Andrew, by Roubiliac and by

Justi, VVinckelmann, II. ^ p. 392. Hoare.

"' Winckelniann, IVerie, III. p. "' Wilton Nos. 10. 124. 151. 170.

xx.\iii.,Dresdened. Engelmann,j?//««. The popularity of this name was

2-], 28] KAKI.V COLLECTIONS. 4;

the most fabulous ori^^in witliout having found any palpable
support for it"". Earl Thomas himself left notices of this
kind, and the year before he died at the age of seventy-eight
(a.D. 1732), there appeared the first printed catalogue, which
has been followed by a whole series of works of a similar
description'"". Thus the fame won by the Pembroke col-
lection soon extended far beyond the boundaries of England,
and was maintained undiminished even when other collec-
tions had in truth outstripped it, not only in the artistic
value of their contents but in comparative freedom from the
intermixture of spurious antiques. Even at this day the
collection of Wilton House exercises a peculiar charm.
Recently it has been arranged with great taste after the
design of the late Westmacott in the cloister-like galleries
round the square court of the mansion. Though this favour-
able impression fades a little on a closer examination of
the numerous antiques, yet there is amongst them a small
number of works which are of unusual interest and which
will always hold their own.

28. The Royal collection, the Arundel collection, and P. Ldv,
the beginnings of the Pembroke collection were the chief ^/„./.,^a,
evidences of English interest in antiques during the time of ^"j^^,^.^,^
the Stuarts. The first was annihilated by fire before the 7- AVw/.
century came to its close. The second passed out of the
possession of the family into many strange hands. The
third alone has been preserved by a more propitious for-
tune uninjured to this day. Besides these, but meagre
records of similar efforts have been handed down from the
seventeenth century. SiR PETER Lely, for instance, in
addition to his celebrated collection of pictures, many of

due to the Venus de' Medici. To il- was sent from Corinth to Rome by

lustrate the naivete of such christen- Polybius, the celebrated Historian, to

ings, Kennedy's effusion (p. xxx.) is execute this work"! Winckelmann

peculiarly apposite : "Among the best was quite right to ask why Polybius

pieces of sculpture relating to the might not rather have sent Kleomc-

Romans may be reckoned that by nes straight to Wilton (IVerke, n\.

Cleomenes, of Curtius leaping into p. vi.).

the fiery gulph" [No. 87, a modern "" Wilton No. 144.

relief]. "This sculptor was one of '"" For a list, see below, Cat., art.

the most eminent of his time, and W'ilton House (introduction).

48 ANCIENT MARBLES IN GREAT BRITAIN. [28

which came from the Buckingham and Arundel collections,
possessed a few antiques which were sold with the above-
mentioned objects of art in A.D. 1682'-''. Another collector
was John Heneage, third Earl of Winchelsea, who,
as we saw above (p. 38), secured the coins and medals of the
Arundel collection. When ambassador to the Porte, he
took advantage of a stay at Athens (A.D. 1675) to purchase
a few sculptures"'. Soon after his death (A.D. 1689), his
collections, either in whole or part, were sold (A.D. 1696)"".
Interest in art was also kept up in other members
of his family. His second son Heneage, later fifth Earl,
visited the cabinet of one Jean Gailhard, at Angers, A.D.
1676. This he saw again at Paris seven years afterwards,
then considerably increased. Indeed this collection came
to England, not however into the possession of the noble-
man just mentioned, but into that of GEORGE, FIRST Baron
Carteret, who in consideration thereof settled an annuity
of ;^200 on its collector, his former governor. Lord Carteret
died A.D. 169s, and during the minority of his son John,
afterwards Earl of Granville, JOHN Kemp, F.R.S., bought
a considerable portion of the collection, and enlarged it by
other purchases''*. Kemp's cabinet, at that time one of the
curiosities of London, comprised a number of marbles, to wit
eleven statues, but almost all of them under two feet in
height, besides twenty busts, sixteen reliefs and a remarkable
number of inscriptions. These specimens were with few
exceptions derived from Italy. The principal portion of the
antiques, however, consisted of the small bronzes, among
which were sixty-three statuettes, which at that time gained

1" A Catalogue of Sir Peter Ldy's auction took plnce 168-2, see Walpole

capital Collection of Pictures, Statues, Anecd. ch. xii. (Lely).
Bronzes, &'c., as an appendix of the '-- Spon, Foya^s^e cTItabe &c.,

Collection of the Duke of Buckins;- Lyons, 1678, n. p. 187.
ham, London, Batlioe, 1758. Of an- 1=' See above, note 98.

tiques only a statue of Apollo and two ^'-^ MS. note of the learned Thomas

headsarespecified(p. 5^); a crouching Birch (<^. A.D. 1766) in his copy of the

Venus of which Episcopius knew as Mmumenta Kempiana, now in the

existinginhishouse(6'?^Kor«/«Fi'/«-?<»« British Museum. In reference to Lord

Jconcs Plate 77) passed into the royal Winchelsea, cf. Dallaway, Of Statuary,

collection, sec above, note 69. The p. 164, note w.

28, 29] FARI.V rOI.I.IXTIOXS. 49

for the collection considerable fame. A year after Lord
Stafford's share of the Arundel collection at Tart Hall had
been sold, the Kemp collection too came under the ham-
mer (March, A. D. 172 1). It was described by R. Ainsworth
in an extraordinary catalogue. The sum realised by it
was one thousand and ninety pounds eight .shillings and
sixpence ''^

29. Among the purchasers at these sales we corns Dr M,-a J.
across Dr Richard Mead, the most celebrated physician
of his time, already at that period Vice-President of the
Royal Society, and afterwards physician in ordinary to
George II. He was born A.D. 1673, and received his early
training from the renowned Graevius of Utrecht. He made
a journey to Italy In the years 1695 and 1696, which took
him to Florence, Rome, and Naples. This tour was not
merely turned to account for the benefit of his medical
studies, but was also utilized for laying the foundation of a
collection of antiques"'. Of this, the most extensive part
consisted of coins and gems. There were, however, nine
especially valuable fragments of antique mural paintings,
six of which most probably came from the Baths of Titus'".
Antique works of this class are, it need not be said, very
rare, and it is consequently only natural that Mead should
have set a high value on this acquisition ; for his credit's
sake we will hope that it was not he who authorized the
wretched re-painting which so sorely disfigures the extant

'-' Monumenia Velustatis Kem- ^^ Miis.Afetiii.pp.2^i — 243. Seven

plana et vetustis scriptoribus illustrata of them can be traced, viz. in Bartoli,

eosque vicissim illustrantia. London, Picturae antiqiiae cryptarum Roina-

1720. The sum is stated by Birch, ttarum, &'c.delin.aPelroSancli Bar-

I. cit. tholi, illustr. a Bellorio et Causseo,

1-' Miisetim Meadianum, London Rome, 1750, pi. 3, 5, 6, and Turn-

(1754). The first part, the coins, was bull, Curious Collection of Anciml

sold by auction in February; the Paintings, London, 1744, pi. 3, 26,

.second, the antique and modem works 29, 30. The two last are now in

of art together with natural curiosities, the British Museum; of the others

in March, 1755. There is a copy in two passed to Mr White (still in the

the British Museum with a list of the possession of Sir M. While Ridley in

buyers and the prices, from which I London), two to Mr Stewart, one to

have taken a portion of the above Mr HoUis, one to Mr Mussell.theninth

account. Cf. also Walpole to R. (Turnbull 3) was in tlic first instance

Bentley, 1755, March 27. ►jxcUided from the sale.

M. C. 4

50 ANCIENT MARBLES IN GREAT BRITAIN. [29

remains. Especially numerous again in Mead's collection
were the small bronzes, which are proportionally less costly
and more easily moveable than larger specimens, and at
the same time present the advantage of offering oppor-
tunity for the display of much erudition. Still there was
no lack of works in marble, to wit, three statues, various
reliefs, many of which were decidedly spurious, and a fair
quantity of busts. The crown of the collection was without
question the Arundel bronze head of 'Homer' (Sophokles),
which Mead had purchased at the auction in Tart Hall.
Lastly there were, as an excellent supplement of the high-
est value to the above-mentioned fragments of painting,
one hundred and sixty copies of antique pictures which
had been discovered at Rome, executed by the artistic
hand of Pietro Sante Bartoli. They had originally belonged
to Cardinal Massimi. Mead set such a peculiarly high
value on these drawings, that he bequeathed them in his
will, together with one of the original antique paintings, to
be preserved as heirlooms in the family. His intentions,
it is true, produced no lasting effect, for the drawings at
least appear to have been soon afterward purchased by
George HI., and are to this day in the Royal Library at
Windsor''^

Soon after Mead's death (A.D. 1753), the remainder of
his collection was sold by public auction (A.D. 1755). The
Earl of Exeter secured the bronze head for one hundred
and thirty guineas, and a few years afterwards bequeathed
it to the British Museum, thus at last placing it in safe
hands. Subsequently a few of the antique paintings found
their way to the same destination. Sir Philip Methuen

'-" The volume at Windsor, fur- some time, and from P. Sante Bartoli.

nished with George I.'s stamp and The contents are in agreement with

the arms of the Vittoria family (/J rr.4. the accounts in Miis. Mead. p. 212

Zeitung, 1874, p. 67, xxn.), belonged and in TurnbuU, Coll. of Ann. Paiiit-

originallyto " Don Vincenzo Vittoria, ings, p. 5, note 3, p. 9. There are

Canonico di Xativa nel regno di Va- now indeed only somewhere over one

lenza," yet the painted title-page pro- hundred and forty drawings remaining,

ceeds jointly from Cardinal Massimi, but a few sheets are wanting,
who h-td been nuncio in Spain for

-9. 30J

KARI.V COI.I.KCTIONS.

purchased a bronze head of Silenus. By a singular chance,
two remarkable terminal busts with inscriptions, one the
portrait of Thcophrastos, and one purporting to be that of
Xenokrates — were bought for Cardinal Albani, and after a
brief interval made the return journey to Rome, where they
had once adorned'"" the Palazzo Massimi alle colonne. The
majority of purchasers however were English. Their number
affords clear evidence how widely spread was the taste for
collecting antiques about the middle of the last century,
especially for collecting small works of art. We shall come
across many of the names again (Lord Leicester, Lord
Carlisle, Marquis of Rockingham, Lord Egremont, Lord
Cavendish, Horace Walpole, Hollis and Brand, Lyde
Browne); others I have not again met with in connection
with these researches. This may be said of some of the
most eager bidders, such as General Campbell, Captain
Bootle, Mr Mussell, Mr Stewart, &c. It is only the first-
named whom I find again; namely at the sale (a. D. 1742)
of the Earl of Oxford's collection, which is of little import-
ance as to antiques. Here he figures as the purchaser of
a marble bust of Alexander the Great'"". Might not this
possibly be the beautiful bust at Blenheim ?

30. Small bronzes also made up the principal portion Conycrs
of the collection of CONYERS MiDDLETON, which this ^'"^f^"""-

Colledors

scholar, who is especially known as the biographer of Cicero, of coins.
had formed during his residence in Italy about A.D. 1724. '^''"''^"'•
Besides statuettes, there were in particular all sorts o^ sioane.
utensils, lamps, sacrificial and culinary implements, to which
his attention was chiefly turned. He devoted to their ex-
planation a special volume furnished with illustrations (A.D.
1745). Shortly before, he had sold the whole collection to
Horace Walpole, who subsequently e.xhibited them at

'-' Visconti, Iconogr. grecque, I. pp. is now in Munich (Glypt. no. 153).
^59' 307> M"' Cf. Spon, Voyage ^'^ A CatcUogiu of the Collation of

d Italie, I. p. 396. Winckelmann, yi/oH. the Rt. Hon. Edward, Earl of Oxford,

hud. I. p. 77. The "Xenokrates" .Sold by auction, March, 1741-42. 410.

4-2

52 ANCIENT MARBLES IN GREAT BRITAIN. [30

Strawberry Hill"'. But the most widely-spread form of
the passion for antiques was that for ancient coins. Haym,
the meritorious editor of the Tesoro Britannico, enumerated
about A.D. 1720 seventeen considerable collections of coins
in England "^ A larger or smaller collection of coins was
also rarely wanting in that very favourite kind of 'museum'
which mixed up in motley confusion all possible curiosities
from the realms of nature and art. The Ashmolean Mu-
seum in Oxford affords an example of this to the present
day. The germ of this institution was the oldest cabinet
of the kind, formed by the two Tradescants, father and
son. Of a similar character was WILLIAM Courten's
museum (Charleton's)'^', "perhaps the most noble collection
of natural and artificial curiosities, of ancient [especially
Roman] and modern coins and medals that any private
person in the world enjoys""*." " It consisted of minatures,
drawings, shells, insects, medailes, natural things, animals,
minerals, precious stones, vessels, curiosities in amber,
christal, achat, &c."\" The bare enumeration of all 'these
glories dazes one.' And yet the collection has every claim
to our respect. For after it had been made over by the
founder (a.d. 1702) to Dr Hans Sloane, the later physician
in ordinary to George I., and more and more materially
increased by him (so that the "antiquities of Egypt, Greece,
Etruria, Rome, Britain and even America " filled several
ground-floor rooms of his house in Chelsea), it passed
immediately after Sloane's death (a.d. 1753) into the pos-
session of the State for the sum of twenty thousand pounds,
and constituted, with the Harleian Manuscripts and the
Cottonian Library, one of the foundation stones of the

'^' Middleton, Conyers, Gcrmana 1689, Aug. 12.

quaedatn antiquitalis eriiditac monii- ''" Edwards, Lives of the Founders

mentit, (iiiibits Romanomin vcUrum of the British Museum, I. p. 264.

varii ritus illuslranltir. London, '^■' Thoresby, Diary, 1695, May

J 745, 4to. Walpole to Mann, 1744, '24. Cf. Evelyn, Diary, 1690, March

June 18. Cf. below, note 172. 11.

'^^ Tesoro Brit. i. p. .\i., n. p. v. ''° Evelyn, Diary, 1686, Dec. 16.

On coin-collectors of the 17th century, Cf. also his letter to Pepys, quoted in

see Evelyn, in letter to S. Pepys, note 132.

30, 3l] EARLV Cdl.I.F.CTIONS. 53

]kiti.sh Museum"". At that time the number of medals
and coins amounted to thirtj'-two thousand, of "antiquities"
to one thousand one hundred and twenty-five, of cameos
and intaglios to about seven hundred. Two apartments
in Montagu House, the first home of the Museum, sufficed
for the accommodation of this portion of the newly-formed
national collection. Nowadays the Sloane antiques are
utterly overwhelmed by the immense riches of the depart-
ment of antiquities ; but it must never be forgotten that
the wish expressed by Sir Hans in his will, gave occasion
for the founding of the grandest museum in the world, and
that his example pointed out the right way of rescuing
costly collections, brought together with trouble and ex-
pense, from the vicissitudes of private possession.

31. The last-named collectors belonged principally to The Duke
the rank of commoners, and had for the most part them- f^f^"'^'
selves formed their cabinets when travelling in foreign
countries. There was however in the first decades of the last
century no lack of nobles to follow, although in relatively
modest guise, the example of Arundel and Pembroke.
Horace Walpole'" mentions by the side of the latter, as a
collector of coins and statues in the time of Queen Anne, the
Duke of Devonshire. He probably means William, the
first Duke, who died A.D. 1707. He was much engaged in
travel, and enjoyed the reputation of a connoisseur in art
and poet ; he too it was who raised the splendid mansion
of Chatsworth. Love for art indeed was at one time quite
domiciled in his family. A grandson of the said Duke,
Lord Charles Cavendish, was one of the original trustees
of the British Museum'™, and his great-grandson William,
fourth Duke, a son-in-law of Lord Burlington, the oracle
on art in the time of George I., joined the Society of
Dilettanti soon after its foundation"". Meantime the

"" Edwards, /. cit., I. p. 273. aJ iiiit.
Centl. Mag. xviii. {1743) p. 302. '■"' Edwards, /. cit. I. p. 32 r.

"' Anccd. of Painting, ch. xvi. '™ 1740, Fclir. i. J/istorical

54 ANCIENT MARBLES IN GREAT BRITAIN. [3T

passion for collecting seems to have turned in the main
more towards modern art, and in the sphere of antiques,
more towards engraved gems than sculptures"". It has
already been mentioned that EDWARD Harley, SECOND
Earl of Oxford, possessed several sculptures ; they
were however quite subordinate to the treasures of the
well-known Harleian library, which he zealously increased.
Of more importance for our study is another group of
noblemen who travelled and collected for themselves in
Italy. These find their more appropriate place in the
next section.

Notices of the Society of Dilettanti, or third Duke, who died respectively

London, 1855, p. 117. Winckeliuann, a.d. 1729 and a.d. 1755, unless

Gesch. d. Kunst, VII. 2, 17, mentions Winckelmann was thinking (a. d.

a bronze head of Plato which it seems 1762) of the then living Duke, the

likely that the Duke of Devonshire fourth.

had got over from Greece about thirty ^""' See below. Cat., arts. Chats-
years before (tliat is to say about worth, and London, Devonshire
1730); this would refer to the second House.

II.

THE GOLDEN AGE OF CLASSIC
DILETTANTISx\L

RoMK AND England.
32. As early as the sixteenth century it was quite Travels lo

. . - - the South

usual for Englishmen to go to Italy in pursuit of the /« the time
higher culture. The flourishing universities of Bologna %'/Jrts.
and Padua were regarded by the British lovers of learning
as the proper high school, particularly for the students of
Law and Medicine ; and the youth of the nobility was not
slow to improve its manners in the chief towns of Italy —
or to corrupt them according to the opinion of the stricter
sort, who were never tired of descanting upon the ruinous
influence 0/ Hesperian licentiousness, or of quoting the
proverb *■ luglcsc italiaiiato b tin diavolo iiicarnato^*^.' Eng-
lish language and poetry were, like English music, under
the special iwfluence of Italy. It is therefore all the more
remarkable that neither in the works of the poets nor of
the moralists, to whom the subject would have been so
appropriate, do we find even the smallest allusions to the
master-pieces of antique art, which were scattered in such
profuse abundance throughout the whole of the peninsula
and concentrated in particular at Rome. We can only

'" My friend and colleague, Eiifflaiui, 2d ed. 1587, book 2, ch. 3

Prof. B. ten Brink, refers me to Roger and 5 (pp. 81, 129, ed. Furnivalli.

Ascham's Sehoolinastcr, written A.D. Aschara betrays in another place

1563 {The English Works of R. A., (Works, p. 394) an interest in antique

London, 1761, p. 245 — 261), and coins,
to William Harrison's Description of

56 ANCIKNT MARBLES IN GREAT BRITAIN. [32, 33

suppose that the eyes of the young Briton of that day
were not yet open to them ; that to his Northern nature
the peculiar excellences of ancient sculpture were still a
sealed book.

In the seventeenth century it was different. Lord
Arundel gave the lead, in the sense of being the first
who visited Italy for nothing so much as for her art
treasures. From the diary of John Evelyn, whom Lord
Arundel himself when on his death-bed provided with the
necessary hints, we are introduced in a lively manner to
the pursuits of a well-educated gentleman, who lets slip no
opportunity of gaining that personal knowledge of the
remains of ancient beauty, which Peacham had already
reckoned among the essentials of his complete gentleman.
George Wheler's description of the journey to Greece and
the Levant which he took in company with Jacob Spon
of Lyons (a.d. 1675 — 1676), has, together with the work
of his then travelling companion, the charm and the value
of a first journey of exploration in a land at that time
almost unknown. Towards the close of the century the
number rose greatly of those who visited the south for the
sake of art, and brought home some memento or other of
their travels. Lord Pembroke, Lord Lempster,.the Duke of
Devonshire, and Dr Mead may be mentioned here once
more as instances of this growing habit.
The 33. The idea, however, that 'the grand tour,' through

'^tife"'"zrcmd'^^ continental countries, particularly France and Italy,
tour. was the necessary complement to a refined training and

Foun'taine. S^^e it a final polish, and that art was an essential element
Lord in this higher culture, does not appear to have been very
ton. "'^' generally realised before the beginning of the eighteenth
century. The travellers naturally found Rome the most
agreeable rendezvous, and the English soon formed the
chief contingent in that international society, which there
took part in the conversazioni of native learned men and
friends of art, and which allowed itself to be initiated into the

33] COLUKN AGE OF CLASSIC DILETTANTISM. 57

wonders of the Eternal City in a shorter or longer time, by-
obliging tvVtvw//, like Francesco de' Ficoroni {d. A.D. 1747)'".
Purchases of pictures and antiquities were perpetually made,
extravagant or modest according to the means and incli-
nation of individuals. The result was that the English
gradually attained the first rank among purchasers of art-
treasures. The conviction of their inexhaustible wealth thus
gained by practical experience overcame in the natives all
prejudices aroused by the heresy and habits of life of their
northern guests. The treasures they had collected were
used by the English gentlemen to adorn the beautiful
country-houses scattered over the country, and more
than one traveller after his return enjoyed on the strength
of the information picked up in Italy the reputation
of a distinguished connoisseur, or even of an infallible
oracle in matters of good taste and art. The advice of SiR
Andrew FOUNTAINE (a.d. 1675 — 1753), who travelled in
Italy at the beginning of the century and who interested
himself particularly in ancient coins, was eagerly sought
by collectors at home "' ; thus we have already found him
concerned in the formation of the Pembroke Collection.
The position which Richard Boyle, Earl of Burling-
ton (a.d. 1695— 1753), the patron of Will. Kent, Geo.
Vertue, and other artists, occupied after his return from
Italy as an authority on architectural matters is well known,
though everj' one does not agree to the almost unqualified
encomium of Horace Walpole'". In the garden of his villa
at Chiswick, which he built himself, and which eventually
became the property of his son-in-law, the Duke of Devon-

'■'- Ficoroni himself mentions some have to thank this scholar for the

of his English acquaintances, Le Ves- communication of severalextracts from

iigia e Rarita di Roma AntUa, Rom. Ficoroni's unpublished correspond-

1744, preface. With respect to ence.

F'icoroni, whose name is inseparably '" Ficoroni, Ft'//!|f/a, p. 98, Haym,

connected with the noblest creation of Tesoro Britaitnico, I. p. xi., Justi in the

antique draughtsmanship, the bronze Nmcs rhcin. Miueum, XXIX. (1874)

cista of the CoUegio Romano, cf. p. 582.

Justi, C, in Lutzow's Zeitschrift fiir '" Walpole, /^ffi'fi/. ch. XXH. (Bur-

bildcnde Kunst, vil. (i87'2) p. 302. I lington, Kent).

S8 ANCIENT MARBLES IN GREAT BRITAIN. [^T,, 34

shire, stood several ancient statues, which had been found
in the villa of Hadrian at Tivoli'^. In his town mansion,
the stately Burlington House, the Elgin marbles were later
to find a temporary home. The present use of the site
for the head-quarters of the most prominent societies who
have devoted themselves to the nurture of art and anti-
quities in England, ensures the perpetuation of Lord Bur-
lington's name in a manner most appropriate to the interests
he had at heart.
Tk. Coke 34- ^ younger contemporary of Lord Burlington was

zfkfsur.) ^^ Thomas Coke (a. d. 1728 Lord Lovel, a. d. 1744
Earl of Leicester), who spent a long period in Italy,
and of whose travels a number of interesting details
are to be gathered from an account-book kept by one
of his servants, which is now preserved in the library at
Holkham"". In this we find in the broadest contrast items
for kitchen purposes, tailor, &c. side by side with ponr-
boircs for seeing collections, travelling expenses, payments
for art purchases, &c. Mr Coke was absent from England
from A.D. 1714 to A.D. 1718, travelling in France and
Germany as well as Italy. He was at Rome in the year
1 7 16, and again the following year after an excursion to
Florence and Pisa. He had dealings with the above-men-
tioned antiquary Ficoroni, a needy fellow, of whom draw-
ings from antique gems could be occasionally bought for a
few crowns. There occurs even more frequently the name of
Francesco Sante Bartoli, son of the celebrated engraver
Pictro : and no inconsiderable number of copies from
ancient paintings, which form a conspicuous feature in
the library at Holkham, may be traced to the artistic
hands of the two Bartoli. The 'Cavalicrc' Coke, as he
was called in Italy, was diligent in having sketches made

'** Volkmann, Neucs/c Meisoi Reverend Alexander Napier of Holk-

dtirch England, Leipz. 1781, II. p. ham, who had discovered this very

440. Cf. above, § ^'l. interesting document in the library

'*^ For the opportunity of examin- (of Holkham) entrusted to his care.
ing this volume I have to thank the

34] GOLDKN AGE OF CLASSIC DILP:TTAN'TISM. 59

of Other antiques, statues, busts, &c. ; and he was so fortu-
nate as to obtain for fifty crowns a book of drawings, which
arc partly executed by no less a person than the great
Raphael himself. Lastly, however, Mr Coke obtained
possession of a small number of original works in marble
of more remarkable artistic character than anything thai
liad hitherto been brought from Italy to England. In
some of these transactions he employed as agent William
Kent, who afterwards designed for him the plan of Holk-
ham Hall. Among these works are : The Artemis from
the Casa Consiglicri, which cost nine hundred crowns"'; the
so-called Lucius Antonius, which was restored in a masterly
manner by Bernini ; and the so-called Zeus, to which Kent
intended to give a place of honour on the staircase of the
new mansion '^^ All these are objects which would suffice
to adorn any museum, and which must have aroused
double admiration before the still brighter splendour of
Lord Leicester's later acquisitions put them somewhat in
the shade.

The warm interest for antiquity, which Mr Coke
brought home with him from Italy, was however in the
mean time to be splendidly illustrated in another way.
Among the autographical treasures that he obtained was
an exhaustive work, in manuscript, by Thomas Dempster, a
Scotchman who had died almost one hundred years before
(a.d. 1625) while working as a professor at Bologna. It was
an extraordinarily industrious and learned compilation of
every sort of information about Etruria and the Etruscans.
Coke not only had this work printed in Florence in two
large folio volumes, but further had sketches made of all
the Etruscan works of art that were within his reach,
and then had them engraved on ninety-three copper plates.

"^ See below, Cat., art. Holkham, Tuscany." So Mr lirettingham tells

no. 24. "Purchased and sent out of us in his work on llolkham; to the

Rome by the Earl of Leicester; for same effect Dallaway, Anccd. \>. 276;

which offence his Lordship was put the statements in the account-book

under arrest, but released soon after at contain no confirmation of the story,
the instances of the Grand Duke of "" Holkham, no. 36, 51.

6o ANCIENT MARBLES IN GREAT BRITAIN. [34, 35

He further induced a friend from Florence, the excellent
and learned senator Filippo Buonarroti, to add to the
work an appendix containing observations of solid value"'.
The book thus produced (through Coke's liberality) has
acquired a heightened interest inasmuch as it has been the
innocent cause of that foolish Etruscomania which pre-
vailed for many \ears in Italy — a startling example of the
length to which that people can be led by misdirected local
patriotism in conjunction with confused, uncritical learning.
Lord Car- 35- At the same time that Mr Coke was in Italy,
Bal- "" Ficoroni had the opportunity of making the acquaintance
borough, of Henry Howard, afterwards fourth Earl of Car-

Diilis of

Beaufort. LISLE (A.D. 1694 — 1758), a connection of the Howards of
Arundel and Norfolk, and of making him familiar with the
antiquities of Rome (a. D. 1717). Later (A.D. 1739) he
looked with pride on this pupil of his, who then surpassed
his former teacher in knowledge'"". The vast Castle Howard,
one of Vanbrugh's ponderous creations, which the third
Earl had begun, and Earl Henry finished, still contains a
very heterogeneous collection, the foundation of which was
laid in Italy by Earl Henry at the time of which we speak.
This collection includes few objects of real consequence,
and illustrates by the number of its portrait-busts, par-
ticularly those of imperial Roman times, the prevailing
tendency of antiquarian interest in that period. It will how-
ever always possess a certain importance on account of the
number and variety of its antiques, a number afterwards
increased by art-loving successors of the first collector.

The fate of the collection founded by WiLLIAM
PoNsoNBY, Viscount Duncannon, later second Earl

^*' Thomae Dempsteri de Etniria the year 1 7 2(5. For the Elruscheria,

Regali libri VII., mmc primiini edili cf. Justi, Winkelmann, II. i, pp. 245

curante Thoina Coke Magnie BHtan- ■ — 249, 267 — 270.
nitE armigei-o, 11. fol. Flor. 1723, "■" According to a letter of Fi-

1724. The text was ready for the coroni ; cf his Vestigia, p. 132. A

press as early as A.D. 17 19, but Buo- characteristic anecdote relating to the

narroti's supplement delayed the ap- year 173915 told by Walpole in a letter

pearance of the second volume until to R. West, 1740, May 7.

35, 36] GOLDEN' AGE OF CLASSIC DILETTANTISM. 6 1

OF BesSBOROUCII (c/. A.D. 1793), was less fortunate. He
lived a great deal on the continent till A.D. 1739, and in
Italy laid the foundation of his collection, which he after-
wards enlarged by considerable purchases in England and
other countries. He however sold his beautiful assortment
of gems, composing about two hundred specimens, cata-
logued in the year 1761 by L. Natter, to the Duke of Marl-
borough. There remained then in his villa at Roehampton
only the marbles, a collection of some repute, which was
sold by auction not long after the owner's death'^\ The
collection of HENRY Somerset, third Duke of Beau-
fort (a.d. 1745), appears to have fared no better. He
bought a considerable number of sarcophagi, which were
brought to light A.D. 1726 in a tomb near Rome, and which
were supposed to have been the coffins of the personal at-
tendants of the Empress Livia. The Duke was probably
present at Rome at the time of the discovery"^^ A number
of these sarcophagi may be seen at the present day at
Wilton House ; we may therefore presume that Lord
Pembroke, that ardent collector, purchased them, or else
received them as a present from the Duke of Beaufort'".

36. We have only space briefly to mention here a few other tra-
other travellers, who, like Lord Carlisle, had dealings with /^^/■^"f riie
Ficoroni in Rome, and who as well as the Earl have made ^^''^'"^'^•

sons.

themselves known, to some extent at least, as lovers and
collectors of works of art'^. SiR John and SiR Charles
Frederick"^, Mr Lethieullier (perhaps one of those
Lethieulliers who were among the first benefactors of the

''' April, 1801. Account of the '^^ Wilton, no. Co, in, 129, 143,

Statues, d^c, at luce. Appendix. 155.

Dallaway, Of Statuary, page 349. _ '''' Ficoroni's Correspondence; cf.

One of the finest specimens was " his Vestigia, p. 130.

the torso of Venus, once belonging "' Sir Charles Frederick's coUec-

to Baron Stosch, Ince, no. 63. See tion was sold A.D. 1786; one of the

below, Cat., art. Petworth, no. 12. purchaserswasTownlcy,v..,4Hf.yI/a;i^.

A second sale took place in July, Brit. Miis. v. PI. 4, 3 and 4, PI. 10,

A.u. 1850. I. Sir Charles had offered Ficoroni

''* Gori, Monumcntum libertorum a considerable sum for his bronze cista,

Liviae Augustac det. 1726, Flor. 1727, but in vain. See Ficoroni, J/cwonVi/j

pref. p. XX. I.aliice, p. 74.

ANCIENT MARBLES IN GREAT BRITAIN. [36, 37

British Museum'""), Eyres, Conyers (Middleton ?), arc
similar names. Were the papers of Ficoroni, Gori, or
Baron Stosch at our disposal, the number could easily
be considerably increased. A fact characteristic of the
time is that now (a.D. 1722) appeared the first English guide
to works of art in Italy, a book by the RiCHARDSONS, father
and son, compiled from materials collected by the latter,
which for a long time was looked upon as an indispensable
companion. Forty years later Winckclmann decided that,
in spite of its faults and omissions, and of the fact that
the author described the works of art as one who had
beheld them but in a dream, it was yet the best book that
was to be had'°'.
Fotinda- 2)7- Who, that has passed some time in Italy, but must

Society of have discovered by experience that the deep artistic im-
Dilettanti. preggions there received form an invisible but firm bond by
which he feels himself united to all those who have enjoyed
a similar happiness and brought home similar recollections.'
Nay, the whole band of those who in successive ages have
made for art's sake the pilgrimage to Rome, form in some
sort a spiritual community, tacitly knit together by a
common devotion to the beautiful. Participation in such
feelings more easily draws together people who are per-
sonally unknown to each other. Sentiments of 'this kind
gave rise to the SOCIETY oF DILETTANTI"'. "In the year

'^^ Edwards, Lives of the Founders
of the British Museum, I. p. 347.
Gordon, A., An Essay towards explain-
ing the hieroglyphical figures on the
coffin belonging to Captain Lcthieidlier,
London, 1707.

'^^' An Account of some of the
Statues, Bas-reliefs, Drawings, and
Pictures in Italy, dr-v., London, 1722,
2nd ed. 1754. Walpole, Anccd.
ch. XVII. ("Jonathan Richardson").
Winckclmann, Gesch. d. Kunst, pref.
p. xiv. (Wcrke, III. p. vi.).

"8 Hamilton, W. R., Historical
Notices of the Society of Dilettanti.
Printed for private circulation only.
London, 1855, 4°. An e.\tract from

this is to be found in the Edinburgh
Review, cv. 1857, pp. 493 — 51/ [Lord
Houghton]. For the use of the
original I am indebted to the kind-
ness of Professor Sidney Colvin, Cam-
bridge. From this and other sources
I have drawn up a fuller sketch of
the history of the Society, published
in Liitzow's Zeitschrift fiir bildendc
Kunst, XIV. pp, 65 — 71, 104 — 113,
133 — 145. Judging by the official
chronology in the statement of ac-
counts, the foundation of the Society
did not take place, according to the
received opinion, A.D. 1734, but to-
wards the end of the preceding year,
probably in December, A.D. 1733-

37. 3^] t^OLDKN AC;K of classic niI.ETTAN'TISM, 63

■734" (more probably 1733), "some gentlemen who had
travelled in Italy, desirous of encouraging at home a taste
for those objects which had contributed so much to their
entertainment abroad, formed themselves into a Society
under the name of The Dilctttinti, and agreed upon such
resolutions as they thought necessary to keep up the spirit
of the scheme." This description is taken from the preface
of the Antiquities of Ionia, published by the Society in
the year 1769. While friendly and social intercourse stood
confessedly among the primary objects of the Society"",
the more intellectual aims were by no means neglected ;
and the learned and art-loving world is indebted to the
liberality of this distinguished body for that splendid suc-
cession of publications on the subject of Greek and Roman
Antiquities, from Stuart's and Revett's classical Antiquities
of Athens, down to the not less important works of
Cockerell, Penrose, and Pullan, which laid the foundation
and form the model of all such productions'"". All these
volumes command similar respect on the score of irre-
fragable trustworthiness in reporting facts and in pursuit
of truth. Excellent as is their outward form, yet no sacrifice
has ever been made to external display, to the detriment
of unconditional material reliability. In this respect the
publications of the Society are unequalled.

38. Englishmen may well experience satisfaction and Activity
pride, as they review the long list of distinguished and members.

^'"^ " In lliis respect no set of men Mont.-igu, 1753, June 3, in her Letters

ever kept up more religiously to tlieir and IVori-s, edited by Lord Wharn-

original Institution." So say tlie clifie, III. p. 61.
Dilettanti themselves, while Horace 1™ Atitiquities of Athens, IV. 1762

Walpole writes (to Mann, 1743, April — 1816; Ionian Antit/uitics, in. 1769

14): "the Dilettanti, a club, for — \'i\o\Q\).ii.m\\tir, Inscriptiones Anti-

which the nominal qualification is qua, 1774; Travels, 11. 1775, 1776;

having been in Italy, and the real one. Specimens of Antient Sculpture, II.

being drunk; the two chiefs are Lord 1809, 1835; Unedited Atitiquities of

Middlesex [afterwards Duke of Dorset] Attica, 1817; GeW, \N ., Home and its

and Sir Francis Dashwood, who were Vicinity, 1834; Brondsted, Bronzes

seldom sober the whole time they were of Siris, 1836; Penrose, Principles

in Italy." Compare with this the de- of Athenian Architecture, 1851 ;

scription of the young Englishman in Cockerell, Temples of Aij^na and

Romeinaletterof Lady Mary Wortley Bassie, 1S60.

64 ANCIENT MARBLES IN GREAT BRITAIN. [38

respected names of men who have devoted their ample
means or their personal co-operation, for nearly a century
and a half, to the noble purposes of this Society. As a
matter of course the names of the most important collectors
are not missing from the list. Among the members for the
first ten years, we find the Hon. W. Ponsonby (Earl of
Bessborough), Mr R. Grenville (Earl Temple), Mr Wellbore
Ellis (Lord Mendip), the Marquis of Hartington (Duke of
Devonshire), Lord Lovel (Earl of Leicester), Mr (afterwards
Sir John) Frederick, Mr Thomas Brand, and Sir Charles
Wyndham (Earl of Egremont); also Spence, the cele-
brated author of Polymetis. It would carry us too far to
enumerate in this place even the most important names of
the succeeding period""; few only are missing of those
with whom we shall afterwards have to occupy ourselves.
At times we see distinctly how admission into the Society
was the immediate result of a journey to Italy. Thus Lord
Charlemont returned in the year 1755 from the South
after an absence of nine years, and became a member of
the Society in the following year. The Duke of Roxburghe
was in Italy in the year 1762 and Viscount Palmerston in
the year 1764 : both joined the Dilettanti A.ix 1765, and so
did Mr W. Weddcll in the following year, sDon after his

^'i' I extract only the following 1800; Lord Northwick, 1S02; Alex,
names of amateiirsand men of learning, Marquis of Douglas (Duke of Haniil-
appending the year of their admission : ton), ifio3; Sam. Rogers, 1805; Lord
Mr Duncombe, 1747; Edw. Wortley Aberdeen, 1806 ; (Sir) W. Gell, 1807;
Montagu, 1749; Lord Anson, 17.n0; Fred. Foster, \V. Wilkins, 1809;
J.Stuart, Nich. Revett, 1751; Mar- W. R. Hamilton, i8ii ; W. M. Leake,
quis of Rockingh.am, J. Dawkins, 1814; R. Westmacott, 1817; Duke
1755; Lord Charlemont, 1756; Rob. of Bedford, 1819; Marquis of Chandos
Wood, 1763; Lord Montagu (Marq. (Duke of Buckingham), 1823; Mar-
of Monthermer), 1764 ; Duke of Marl- quis of Northampton, 1832; Mar-
borough, Viscount Palmerston, 1765; quis of Douglas (Duke of Hamilton),
\V.Weddell,i766; Dukeof Buccleuch, 1833; Sit Stratford Canning (Lord
1767; Steph. Fox (Lord Holland), .Stratford de Redcliffe), Alex. Baring
1769; (Sir) Jos. Banks, 1774; Duke (Lord Ashburton), 1834; Charles
of Dorset, 1776; Sir Will. Hamilton, Fox, 1837 ; Sir J. C. Hobliouse (Lord
1777; Sir Rich. Worsley, 1778 ; Lyde Broughton), 1839; F. C. Penrose,
Browne, 1780; R. Payne Knight, Sir 1852; Lord Houghton, 18^2; W.
Henry C. Englefield, 1781 ; Ch. Watkiss Lloyd, 1854; C. T. Newton,
Townley, 1786; James Smith Barry, 1863; Sidney Colvin, 1S71 ; C. Knight
1788; Hon. Frederick North (Earl Watson, 1871; Lord Acton, 1S72;
of Guilford), 1790 ; John Hawkins, J. Fergusson, 1875.
J. B. S. Morritt, 1799; Tho. Hope,

38, 39] COLDKN AGK OF CLASSIC DILETTANTISM. 65

return from Italy. The ten years from A.D. 1760 to 1770
are on the whole distinguished by a peculiarly lively
interest in the objects of the Society, due partly perhaps
to the fact that in the year 1762 the first volume of Stuart's
and Revett's great work appeared under its auspices. Next,
in the year 1764, Chandler, Revett and Pars were sent to
the Levant, which mission was the first independent under-
taking of the Society. Other members, such as Lord
Anson, Lord Charlemont, James Dawkins, and Robert
Wood, and afterwards Sir William Hamilton, added a
fresh lustre to the Society by the distinction of their own
travels and discoveries or the value of their publications.
Many of the Dilettanti also gave private support to learned
enterprises, even independently of the undertakings which
were under the patronage of the whole Society. But for the
liberality of J. Dawkins, who was supported by Lord Malton
(afterwards Marquis of Rockingham) and Lord Charlemont,
Stuart and Revett could never have had the leisure to com-
plete their Athenian labours"'. As these two authors had
opportunities of executing buildings in London and in the
country for members of the Society'^', they were able to
offer proof that the efforts of the Dilettanti were not merely
directed to theoretical inquiry into dead matters of history,
but that living and contemporary art was meant, and was
able, to derive benefit from their work.

39. In the meantime very favourable opportunities 5/<i/«r<;/
were offered in Italy for the purchase of antique sculptures. /{„,^,i.
Great collections had been made in Rome in the seven- Fotmda-
teenth century by the princes and Cardinal-nephews, the capitoii'u
Barberini, Borghese, Giustiniani, Ludovisi, Odescalchi, ^l""«"'-
Pamfili, Rospigliosi, and others. This high tide in the
native love of art was however followed at the beginning
of the eighteenth century by an equally significant ebb,

^°' Antiq. of Athens, IV. p. xxiii. later habits of life of. J. Th. Smith,

Lord Anson got for Stuart also the Nollckens, I. p. 38.
lucrative sinecure of a surveyor to '°^ Antiq. of Athms, IV. ^f^^.xyi\'m.

Greenwich Hospital. As to Stuart's xxxi.

M. C. 5

6iS ANCIENT MARBLES IN GREAT BRITAIN. [39

caused by the increasing pecuniary embarrassments of tlie
noble families of Rome. The Giustiniani family led off,
and we have seen how Lord Pembroke availed himself of
the opportunity. In the year 1724 the sculptures of the
Odescalchi Museum, originally collected by Queen Christina
of Sweden, were sold to Spain for the sum of twelve thou-
sand doubloons (about ;£'940o), and placed in the Palace
of San Ildefonso'^\ Four years later Ficoroni negociated
the sale of the Chigi collection for thirty-four thousand
scudi (about £y6o6), to the King of Poland at Dresden ;
and even Cardinal Alessandro Albani, who was a most
enthusiastic collector, was obliged on account of straitened
means to part with thirty statues to the same monarch for
twenty thousand scudi (about ;£'450o) "'^ These events
caused great excitement in Rome. It was said, as in
ancient times, Romae omnia vcnalia, and an effort was
made to save as much as possible for the Eternal City.
Cardinal Albani's incomparable collection of portrait-busts
was bought, not by a foreign amateur, but by the Pope, in
the year 1734, and the founding of the Capitoline Museum
seemed to provide the most effectual means of obviating
the dispersion of antique sculptures. Remarkable speci-
mens were purchased from various palaces and villas ; others
were presented to the Pope; others again were acquired by
means of excavations expressly set on foot. During the
pontificates of two Popes, Clement XII. and Benedict XIV.,
of the houses of Corsini and Lambertini respectively (a.D.
1730 — 1758), the Capitoline Museum received its essential
form ; only few additions having been made to it, and those
in the times immediately succeeding"^".

'"^ Hiibner, Aniike Bihhvcrki- in nearly 75,000 scutU (c. pf 16,800).
Madrid, Berlin, 1862, p. 14. AVinckel- "= VLt:\X\-\tx, Die Bildwerke der kgl.

mann in letter to Mengs, 1761, Nov. Antikensaminlimg zu Dresden, 3 ed.

i9 (Opere di /\. Metigs, Rome, 1787, p. Dresden, 1875, p. iii. — vi.
420), states the price of 51,000 scudi ""' Justi, C, in /iii naien Reieh,

■{a.hout£ii,}oo). Fen, S/oria de//e Arti Leipzig, 1S71, 11. p. 121.
del Dis., II. p. 38, of 25,000 doppi, or

40] GOLDEN A(;E OF CLASSIC niLKTTAXTISM. 67

40. The result was that a splendid treasure was secured Dealers
to Rome. rJut the movement which had once set m among ers. Cava-
private collections was not checked. On the contrary it "^^''
received a stronger impulse. Private purchasers, among
whom the apothecary Borioni and above all the crafty
Belisario Amidei deserve to be mentioned, vied with each
other and with the government. Trade in antiques, and
excavations in search of them, were carried on with great
vigour. The fabrication of spurious antiques was not
omitted, but was in fact a general custom. In mutual
emulation Flavio Sirleti, Anton Pichler, the Costanzo
family, and other less skillful hands cut "antique" gems
or provided stones of genuine antiquity with modern in-
scriptions. So with marbles. Sometimes an old appearance
was given to new works by an artificial roughening of the
surface, or by the use of chemicals. Sometimes insignificant
old fragments were restored with more or less skill, that is
to say trimmed into apparent completeness by arbitrary
additions ; and in this way otherwise worthless specimens
were made saleable. The most celebrated virtuoso in this
branch was Bartolommeo Cavaceppi, who had invented
a regular system of methodical restoration, which in theory
was excellent and almost incontrovertible, but in practice was
only in so far to be commended as Cavaceppi surpassed most
of his contemporaries in taste and execution. Through
several decades all the most important finds and purchases
of antique sculptures passed through Cavaceppi's hands
and were made to submit to his rejuvenating arts. He
and his fellow-workers must not be blamed for this. No
one, or at least very few, would have bought the broken
torsi and limbs as they were taken out of the ground. Be-
sides, from the days of the Renaissance restorations had
been considered a matter of course. Here and there an
individual might object to this or that particular example
of the process : yet no one doubted the principle that res-
torations must be made ; and even so fine a connoisseur as

68 ANCIENT MARBLES IN GREAT BRITAIN. [40, 4T

Cardinal Albani carried on the business with such enthu-
siasm that he gained the title of riparateur en chef de
r antiqnitd^^'' . The Elgin Marbles were the first to break
the spell. Canova pronounced that it would be sacrilege
for a modern hand to complete these fragments ; and the
British Museum has been the first and unluckily the only
institution to abide by the principle thus laid down, and
check the unwarrantable introduction of arbitrarj' inter-
polations into ancient work.
Perry, the 41. This was the State of affairs in Rome at the time
HMh and the Society of Dilettanti was founded. " There are now
Brand, selling," writcs Horace Walpole in the summer of A.D. 1740,
smaller " no Icss than three of the principal collections, the Bar-
eo ecios. ^^^.^.^ j.j^g Sacchetti, and Ottoboni'''." The fact that Mr
Perry in the year 1740 contented himself with purchasing
only a small number of busts, must be attributed to mode-
ration on his part, or the particular direction of his taste ;
with his purchases he adorned his house at Penshurst'*',
which is so venerable and rich in memories. Similarly SiR
Robert Walpole (afterwards Lord Orford, a.d. 1745)
had a dozen busts purchased in Rome for the adornment
of his country seat of Houghton Hall ; these were cata-
logued by his son Horatio in the Aedcs Walpoliaiiae™.
Horace Walpole himself, during his stay in Rome (a.d.
1740) "made but small collections, and bought only some
bronzes and medals, and a few busts," among them the
famous Vespasian in touchstone from the auction of the
Cardinal Ottoboni"'. Some later purchases in England
were added from the effects of Mead, Middleton and others,
and so was formed the cabinet which remained at Straw-

^^ Cf. Justi, C, Winchimanii, ii. ^^o g^g under Pershurst.

'1 PP' 317 — 324' Cavaceppi, A'aaW/a; ^'^ See under Houghton Hall. The

if atitiche statue, &^c. restaurate da catalogue was already drawn up in the

B. C, III. Rome 1768 — 1772- There year 1743, but was first published only

are forcible remarks on the hazardous A.D. 1747, v. Walpole's Letters, ed.

nature of restoration in Casanova's Cunningham, i. p. Ixv.
Discorso sopra gf antichi, Leipzig, ^" Walpole to R. West, 1740, Oct.

1770. 1. Cf. the letter to H. S. Conway,

188 Xo R. West, 1740, May 7. 1740, April 23.

4l] GOLDEN AGE OF CLASSIC niLETTANTISM. 69

berry Hill for nearly a century. The possessor himself
esteemed, as of the highest value after the Vespasian,
an eagle from the baths of Caracalla ; a small bronze
bust of Caligula, which was found among the first exca-
vations of Prince d'Elboeuf at Herculaneum (a.d. 171 i),
and was a present from Sir Horace Mann ; and a small
head of Serapis in basalt from the Barberini palace, of
which he had at last (A.D. 1786) become the possessor after
it had passed through the hands of Sir William Hamilton
and the Duchess of Portland'". The sculptures obtained
by the pair of intimate friends THOMAS HOLLIS (A.D.
1720— 1774) and Thomas Brand (who afterwards called
himself Brand-Hollis) were more numerous. These were
picked up by the two collectors, especially by the first, on
various journeys to Italy beginning with the year 1748,
and the number was completed by purchases in England.
After A.D. 1 76 1 they were all placed in the Hyde, the
country seat of Hollis, in the hall constructed expressly for
the purpose'". At a later date, after additions by John
Disney, the collection was brought to Cambridge, where it
forms an important part of the University Museum. We
can only regret that its quality is, with few exceptions,
below the average ; moreover there are not a few spurious
imitations side by side with the genuine antiques. The
blame must rest upon the purchaser, whether this was Hollis
himself or his Roman friend, Jenkins. Finally we come to

''^ A Description 0/ (he Villa of for ;^48. 6j-.) ; for the Serapis, Walpole

Mr Horace IValpole, at Strawberry- to Conway, 1786, June 18 (bought

hilt, near Twickenham, Middlesex by Walpole for ;^I73. 5^., sold A.D.

(Works of H. IValpole, II. pp. 393 — 1842 for ;^78. 15^.). Besides this

516). Add to this the catalogue of the mention should be made of the sitting

sale : A Catalogue of the Classic Con- Ceres with a cow in her lap (Spec. Ant.

tents of Strawberry- Hill collected by Sculpt, u. PI. 58 ; Clarac, 438 E, 786;

Hor. Walpole, .\pril 25, May 1 1, 1842. F. Miiller-Wiescler, Denknidlcr II. 8,

(A copy with notes of the buyers and 91), which was sold to Mr Cope for

prices is in thepossession of G. Scharf. ) £,'i%. lOJ.

Dallaway, Anecd. pp. 293, 384. The '"' Museum Disncianum, preface.

Vespasian was sold for ^220. los. See For the origins of the collection, see

Hamilton Palace. For the eagle, see below, Cat. , arts. Cambridge and Hyde.

below,Cat.,art. London, Lord Wemyss The Memoirs of Th. Hollis, Esq.,

(sold for ;f 2 10); for the Caligula, Wal- London, 1780, 4to, tell us nothing

pole to H. Mann, 1767, May 30 (sold about the origin of the collection.

.ANCIENT MARBLES IN GREAT BRITAIN.

[41

Lord Anson and Lord Malton, Sir Richard Hoare,
Mr Wellbore Ellis (afterwards Lord Mendip), and
Mr Fox (afterwards Lord Holland), who obtained a small
number of statues and busts for their villas at Shug-
borough"*, Wentworth House, Stourhead, Twickenham'",
and Kingsgate(Isleof Thanet"^); though their purchases did
not give a distinctive stamp to the character of those country
seats. Nevertheless the young Roman Prince Bartolommeo
Corsini, who was travelling in England as early as A.D.
1753, expressed his surprise at the number of fine statues
which he often found collected in country houses, even in
those which were situated quite far from the high road and
buried in the wilderness ; he spoke of them as " dragged
together out of all countries with vast pains and cost"'."
But it was not these bargains that could have brought to
the British their reputation in Rome as leading purchasers
of antiques, nor to their native island that character as a
strongbox of works of ancient sculpture which she was
soon to enjoy.

^~* In Shugborough, .Staffordshire,
were several chambers adorned with
a great number of statues, v. Pennant,
Journey from Chester to London,
Lond. 1782, p. 68 (Adonis, Thalia,
Trajan in the attitude of haranguing
his army, a number of rude Etruscan
figures). Volkmann, Reisen, m. p.
294. Cf. Cavaceppi, Reucolta, I. 36
(Venus), 37 (Bacchus), 54 (Pedestal),
II. 60 (crouching Venus), III, 54
(Pedestal). The colleclion has been
sold, see Birmingham, Lowther, nos.
64, 65 ; Richmond, no. 40.

^'° Lord Mendip's collection was
sold by auction A. D. 1802. One of
the principal buyers was H. Blundell.
See under Ince.

''* The Fox collection was subse-
quently brought to St Ann's Hill;
see Cat. sub voce.

''' This interesting letter, of which
Justi informed me and which Dr
Knapp has copied for me, is in the
Corsini Library at Rome, Cod. 156S.
It is addressed to the celebrated anti-
quary Bottari from London, dated Oct.
9, 1783. " J.'Iuglesidiiiineertotempo
in qua si soiio nn poco fill uinanizMti ;

i I'ero che si ha da sosteitere da essi un
frimo abbordo nn poco freddo, e che
prima di trattare tina persona, la
voglion conosccre; conosciuta perb che
rhanno, Ic cortesie che le praticano sono
cordialissivte, non essendo fo7idate che
su r amicizia, e non avendo altro fine
che la medesima. Qiieslo costume
sarcbbe desiderabile che fosse adottato
da tiitte le nazioni, la maggior parte
delle qiiali fanno consistere la polizia
del vivere in nn vano e fallace esteri-
ore....Abbiamo fatto tin giro nella
campagna ed abbiamo vediito le delizie
et le fabbriche vcramente magiiifiche di
qnesti signori. Tutto quello che v* i di
pill hello e di piii grande, altrove nelle
cittA, qui i in campagna ; un superbo
palazzo cavato da Vitruvio 0 da Pal-
ladia 0 CO fit a delle opere de' piit famosi
architetti, ornato di bellissime statue e
pittiire astratte con gran fatica e spesa
da tiitte le parti del viondo, <? situato
non solamcnte in campagna, ma in
luogo totalmenie fiiori di strada e
deserto." Cf. also Winckelmann
Geschichle der Kunst, pref. p. xxiii.
{Werke, III. p. xv.)

42] GOLDEN AGE OK CLASSIC DILETTANTLSM. 7 1

42. Thomas Coke, by this time Earl OF LEICESTER, Jiord
who had been a member of the Society of Dilettanti since
A.D. 1740, was the first to strike another chord. He had
had a magnificent palace built for him by the elder Bret-
tingham on the north coast of Norfolk, at that time still
desolate, — mainly after the designs of his former travelling
companion Kent. Its whole west front was occupied by
a beautiful gallery with two dome-roofed rooms adjoin-
ing. Here, as well as in the staircase hall, were niches
provided for statues ; but the specimens brought at an
earlier date from Italy by the Earl himself were not suffi-
cient to fill them, and it was necessary to make fresh pur-
chases (about A.D. 1755). The commission was entrusted
to the younger Matthew Brettingham, who had already
bought busts for Lord Orford to adorn his neighbouring
seat of Houghton Hall, and he now had an opportunity of
proving, as he did not fail to do, that he was competent to
execute a still more important commission. Eleven statues,
eight busts, a relief, and some mosaic slabs were obtained
through his agency, including a few modern and some
insignificant specimens, but at the same time a considerable
number of good and a few excellent works'™. The Silenus
(no. 19) is one of the most remarkable statues which are to
be found in any private collection in England ; the Poseidon
and the Venus Genetrix (nos. 18, 23), as well as the two
colossal female statues (nos. 33, 34), are also of the highest
interest. Among the busts the Thukydides and the so-called
'Sulla' (nos. 26, 29) are highly interesting ; and finally the
colossal head of the Aphrodite (no. 37) is a work of truly
sublime beauty which would be an ornament to the richest
museum. Not a few of the statues were purchased by
Brettingham from Cardinal Albani, who at that time was
making a fresh collection to adorn the villa which he was
building, and who sold much that appeared to him of

''" For the information in detail see under Holkham.

72 ANCIENT MARBLES IN GREAT BRITAIN. [42, 43

secondary value with the view of obtaining something better
in its place. That the first-rate Silenus, still incrusted with
its earthy coating, was among them, may suffice to show
that even such a practised connoisseur as Albani was
to some extent liable to errors of judgment. Cardinal
Furietti, the sculptor Carlo Monaldi, the dealer Belisario
Amidei, and Cavaceppi were the men with whom Bret-
tingham had most to do ; the last mentioned was employed
by him especially upon the redintegration of the injured
specimens. On the whole, Lord Leicester, who soon after-
wards (a.d. 1759) died, had every reason to be contented
with the execution of his commission.
LordEgre- 43. Still more extensive was the activity displayed by
the same Brettingham for Charles Wyndham, second Earl
OF EgrEMONT. The grand collection of sculptures, which
still in our day adorns the princely castle at Petworth, is
almost entirely the fruit of Brettingham's exertions''^ It
includes at present no fewer than twenty-four statues, among
them several of high value, while others are in an unusual
state of preservation, and also nearly twice as many busts.
Not a few of the latter are of interest ; a colossal female
head of heroic character deserves, on the score of its grand
expression and elevated style, a place of honour equal to
that of the Holkham Aphrodite. Though Lord Egremont
was lavish of the means for procuring these treasures,
his agent no less deserves also that full recognition for
his zeal and .skill which was accorded to him later on
by the Dilettanti"". Unfortunately we have hardly any
information of the sources from which the specimens
were derived. The celebrated Apollo (no. 5) had long
before stood in the Vcttori palace at Rome. A number
of statues had passed through Cavaceppi's hands ; others
were obtained secretly from private collections. Gavin

^'^ For particulars see Cat., art. Egremont) being there named as the

Petworth. person who gave the commission, there

'*" Specimens of Atitient Sculpture, is perhaps a mistake for his nephew,

i.onPl. 72. Astothe Duke of Somer- the second Earl, who succeeded him

set (Algernon Seymour ist Earl of a.d. 1750.

43.44] GOI.nEN AGIO OF CLASSIC IMl.F.TTAXTISM. -JT,

Hamilton's name is also among those mentioned in connec-
tion witli tlie forming of the collection. Be that as it may,
the Egremont collection when it reached England was
at any rate — perhaps with the exception of the Arundel
Marbles at Oxford — the most extensive aggregate of
antique sculptures in the whole country, and could bear
comparison with any of them in point of value. Hence
they received, even long afterwards, a special preference in
the choice of plates for the Specimens of Antient Sculp-
ture. First of all indeed, it was their lot to remain for a
long time packed up in their cases. Meanwhile the col-
lector died (a.D. 1763), and his son and heir was then still
a child. This may account for the sale of certain speci-
mens ; but at the same time fresh purchases were occasion-
ally made. The partially mutilated statues, which had often
had to submit to sad restorations, gave rise to much shaking
of the head in the neighbourhood ; it being considered an
excellent joke to describe the castle at Petworth as a " hos-
pital for decayed statues." Appreciation of the beauty of
ancient sculpture was at that time only just beginning to
be felt ; and those who objected to the broken torsi did
not bethink them how few statues have come down to us
through the long succession of centuries in good and perfect
preservation. As a matter of fact Petworth is comparatively
rich in complete specimens.

44. Matthew Brettingham belonged to a band o'i British
young British artists at Rome, who had been pursuing ^^^"'l|"
their professional studies there since about a.d. 1740, and ^'^''''^

Hamilton.

each of whom lived to render good service in more
than one department. Among his friends were the two
painters Gavin Hamilton, a Scotchman, and James Stuart,
as well as the architect Nicholas Revctt. In the year 1748
these four planned a journey together on foot to Naples'*'.
The two latter have won for themselves a world-wide
renown by their labours at Athens (a.d. 1750 — 1755). Of

'*' Aiitiq. of Athens, IV. p. xxviii.

74 ANCIENT MARBLES IN GREAT BRITAIN. [44

the assistance which they received from several rich patrons
in the circle of the Dilettanti, mention has been made
above. The idea of making this expedition, which may
be said to mark an epoch, had in reality emanated from
Hamilton, who was only hindered from taking part in it
personally by some circumstance unknown to us'*'. Instead
of doing this he was soon to display another kind of activity
along the same line as Brettingham, but on a far larger
scale. The preference which Hamilton as a painter showed
for Homeric and other classical subjects — every visitor to
the Villa Borghese knows his paintings from the Trojan
legends — stood in close connection with his enthusiasm for
ancient sculpture. At the same time he was not without
an eye to the main chance. While he hoped for scientific
advantages from the Athenian undertaking, he also had in
view the possibility of commercial profit, so that his love
for old sculpture was not purely platonic. He did not
allow the numerous opportunities of obtaining antique
marbles, which presented themselves in that age at Rome,
to escape him ; and who can reproach him if he chose
to part with his purchases, to his fellow-countrymen on
their travels and to other amateurs, with advantage to
himself.'' It must be distinctly borne in mind that not the
least suspicion of any unfair or even questionable trans-
action has ever fallen upon Hamilton in connection with
his dealings in antiques. This is the more estimable,
seeing that lax principles in the art-trade of Rome were
quite a matter of course'™. Hamilton had always been
known as a trustworthy and honourable gentleman, to
whom fortune was on that account so favourable as
generally to reward his spirit of enterprise with the richest
results"".

''- Ibidem, p. xxii. praise; in Moii. Gabini, pref., he calls

''^ Justi, Winckelmann, II. i, p. Vvcci" solcrtissimo ed indefesso ccnatore

318. Paciaudi, Lettres ati Comic dc d'an/ichila." Cf. Fea, Relazione di

Caylus, Paris 1S02, pp. 89, 264. tin Viaggio nd Oslia, Rome iSoj,

'*^ Visconti repeatedly speaks of p. 43.
Hamilton in terms of the highest

45j GOLDEN ACE OF CI.ASSR' DIELTTAXTISM. 75

45. Most intimately connected witli the name of Thomas
Hamilton is that of the Englishman, THOMAS Jenkins'*^. 7'"*""-
He too was originally a painter, though of far less talent
than Hamilton, and was fortunate enough to be high in
the favour of such a rich patron as Hon. Thomas Hollis, to
whom he himself attributed his entire career and fortune.
He had at his disposal considerable means, which he knew
how to turn to advantage in two ways ; partly as a banker,
in which capacity he came into relation with the majority
of his rich travelling fellow-countrymen ; partly as a dealer
in antiquities, whereby he understood how to use the said
relation in the most profitable manner. In former days he
enjoyed an unimpeached reputation. He was much looked
up to on account of his artistic and historic knowledge, and
was frequently consulted by Cardinal Albani, Winckelmann,
and Raphael Mengs. On coins and gems he was especially
an authority. He was courteous to scholars, and raised no
difficulty about permitting them to make known any of the
antiques in his possession. In this he showed himself to
have more knowledge of the world than those who selfishly
hid their treasures : for the money- value of a good work of
art is increased rather than lessened by publicity"**. He was
generally looked upon as an honest and disinterested per-
son ; and was as such recommended by Winckelmann to be
agent for the sale of the celebrated collection of gems, the
property of the late Baron Stosch, which was afterwards
purchased by Frederick the Great for Berlin"*'. This ac-
count of Jenkins' character is borne out by the following
anecdote. It appears that a poor valet de place had pur-
chased a cameo cheap and asked Jenkins' opinion as to its
value. The latter paid him the high price of nine hundred
pounds, with the words : " You are a poor fellow ; I can

'*' Justi, Winckelmann, 11. i, p. '** Guattani, yl/i>KK/«. Ined. 17S6,

319 — 321. See especially Gorani, p. xxxii.

Alimoires Secrets et Critiques. ..de "^ Winckelmann to Muzel-Stosch,

ritalie, Paris, 11. p. 25 — 28. Gorani 1763, Dec. 7.
was in 1779 and 1790 in Italy.

^6 ANCIENT MARBLES IN GREAT BRITAIN. [45. 4^

make your fortune without loss to myself; there are four
thousand scudi." The lucky man, so the story continues, had
a house built for himself with the money, and the following
inscription introduced over the door : — ■" Questa casa i fatta
dima sola pietra}^r But Jenkins did not keep himself free,
as Hamilton did, from the noxious influences of certain
Roman colleagues, men " for whom conscientiousness and
scruple were incomprehensible ideas." He soon assumed
something of that theatrical bearing, those affected raptures,
by means of which the Italians understand so thoroughly
how to impose and force hard bargains upon strangers.
No one was a greater master than Jenkins of the art of
making the best bargain out of his wares; as a rule it was
only with great trouble that he could be induced to allow
himself to name a price, naturally a very high one ; when
the purchaser agreed to his figure, Jenkins did not tear
himself from his darling gem without gestures of extreme
emotion, and displays of extreme grief at parting from it.
He would weep, and could even manage to draw tears
from the sympathising purchaser. In fact to such an extent
did he carry his acting that he declared himself ready at
any time to take back the work of art he had sold, and
this he has actually been known to do. " He -would,"
observes our authority, Jos. Gorani, "furnish material for
an excellent comedy. Perhaps his emotion is genuine, per-
haps he is really attached to his stock-in-trade. In any
case, if this affectation is part and parcel of his business, we
must acknowledge that he has brought it to the highest
possible degree of perfection."
His 46. But Jenkins did not confine himself to acting ; he

practices. ^^^^ unfortunately guilty of more evil practices. Let us
hear the original testimony of Nollekens, who lived at
Rome for nearly ten years, from A.D. 1760, and who was

^'' Souvenirs de Charles-Henri catalogue for Jenkins of his inscrip-

Baron de Gleichen, Paris 1868, p. io\. tions, calls him a " mercanle di ragione

Gleichen was in 1755 and 1756 — 58 che fa onore alia sua patria" {A/ut.

in Rome. Visconti, who drew up a Pio-Cleni. I. on PI. 45).

46] GOLDEN AGE OF CLASSIC DILETTANTISM. "JJ

himself actively engaged, now in renovating a small frag-
ment of a terra-cotta relief by extensive additions, now in
lending an antique 'patina' to a marble figure, which had
been very much mended, by steeping it in tobacco juice'*'.
J. T. Smith puts the following words into his mouth"" : " I
got all the first and the best of my money, by putting
antiques together. Hamilton, and I, and Jenkins, gene-
rally used to go shares in what we bought; and as I had to
match the pieces as well as I could, and clean 'em, I had
the best part of the profits. Gavin Hamilton was a good
fellow, but as for Jenkins, he followed the trade of supply-
ing the foreign visitors with intaglios and cameos made by
his own people, that he kept in a part of the ruins of the
Coliseum, fitted up for 'em to work in slyly by themselves.
I saw 'em at work though, and Jenkins gave a whole hand-
ful of 'em to me to say nothing about the matter to any-
body else but myself. Bless your heart! he sold 'em as
fast as they made 'em." The history of the Minerva of
Newby Hall is an illustration of the enormous percentage
which Jenkins made'", and what is related about the statue
of Venus in the same collection will serve to exemplify his
general mode of procedure in such matters. After he had
purchased the beautiful torso of Hamilton for a moderate
price, and had it furnished by Cavaceppi with a head
that did not belong to it, the statue was advertised as un-
injured ; its origin was shrouded in mystery ; an extra-
ordinarily high price, about which buyers and sellers were
bound to keep silence, was demanded, and then increased
on the score of the difficulty of obtaining permission for
exportation. By a false announcement that the King of
England was the purchaser the papal government was
cajoled into giving the permission"^, and finally an exact

'89 (Combe) Ancient Terracottas in "- Newby, no. lo. Dallaway in

the British Museum, London, 1810. Nichols' Illustrations Liter. Hist, m

Smith, A'o//<r/t^«j, I. p. II, II. p. 62. p. 728. Winckelmann to Fuessly,

"0 Nollekens, I. p. 250. June 19, 1765, to Schlabbrendorf, June

'" See Newby Hall, no. 23. 22, 1765.

chases of
antiqttes.

78 ANCIENT MARBLES IN GREAT BRITAIN. [46, 47

statement of every restoration was given to the custom-
house authorities in order to reduce the fees. In fact even
so brilliant a customer as Charles Tovvnley, with whom
Jenkins carried out many joint undertakings, was not secure
against his tricks; and the former found it necessary to take
particular measures of precaution to protect himself from
imposition. This is shown by an often-repeated anecdote of
Dallaway's, if indeed it be authentic. The purport is that
Townley thought it advisable to appear suddenly incognito
at Rome on the occasion of one such joint excavation, and
was actually witness of the fact that Jenkins secretly put
out of the way the most valuable fragment that was found"".
His pur- 47. In spite of this the name of Jenkins appears in

connection with that of Hamilton on all occasions on which
Englishmen were collecting antiques in Rome at that
time. The reason of this must lie in the extraordinary
promptness with which Jenkins contrived to put himself
in possession of the coveted objects. Jenkins and Hamil-
ton not only found out and bought up single specimens,
which were then, far more numerously than at the present
day, scattered through the halls, galleries, cellars and court-
yards of the palaces and private houses of the Eternal City;
but they also, the former especially, turned to account the
straitened circumstances of their possessors, so as to acquire
whole collections at one stroke. It was a favourable cir-
cumstance for Jenkins that about A.D. 1766 the Cardinal
Albani, in those days the most important and in fact almost
the only Roman collector, brought his purchases to a close,
his villa being just then finished after about ten years' work.
The formation of the Capitoline Museum had already been
completed. Accordingly the Villa Montalto or Negroni,
originally founded by that powerful Pope, Sixtus V., dis-

'™ Dallaway /. cit. p. 727, re- emanating from Townley himself,

peated by Ellis, Townley Gallery, I. p. which is given in Specimens of Antient

4, who however already refers to the Sculpture, i. on PI. 40.
somewhat different version, probably

47] GOLDEN AGE OF CLASSIC DILETTANTLSM. 79

gorged all its treasures into Jenkins' depot (a.D. 1786)'*".
The Duke of Modena, at that time the owner of the Villa
d'EsteatTivoli,the most fanciful creation of the Renaissance,
suffered from chronic shortness of funds, and so pretty
nearly about the same time the last remnants of its treasures,
still amounting to about sixty-five specimens, went the same
way, after the Capitol and the Villa Albani had had the
first and second oioice among thern'''^ The Villa Mattel,
an unusually rich museum, had a little before this undergone
a strange vicissitude, inasmuch as at the very moment when
its collection of sculptures was published in three folio
volumes (A.D. 1778), the originals were scattered to the four
winds, and no inconsiderable share of them fell into Jenkins'
hands"". The Alticri, Barberini, Capponi, Lante palaces,
etc. ; the house of the late apothecary and art-collector,
Borioni; and many similar treasuries of antique art, v.hether
filled in more remote or more recent times, kept yielding up
to Jenkins rich material ; he even extended his undertak-
ings beyond Roman territory, purchasing, for instance, the
sculptures of the Caraffa-Colombrano palace at Naples"".
Much was saleable without more ado. Other specimens
had first to be renovated, or if an earlier restoration had
not been successful, to undergo the treatment a second
time. A lively traffic therefore went on between Hamilton
and Jenkins on the one side, and, on the other, the sculp-
tors and restorers, Cavaceppi first and foremost, then Al-
baccini, Antonio d'Este, Nollekens, Pacetti, Piranesi, etc.
All these moreover carried on their private business in an-
tiques, so that there was no lack of competition. One of
the most dangerous competitors in the earlier part of this
period was Belisario Amidci, "our tyrant — all the more so

"■• Visconti, Mils. Pio-Clem., ni. "" Amaduzzi in the preface to

on PI. 14. Guanam, Monumoiti Iiu- Vnc •Monummta Matthaiana, 1778,

diti, 1787, p. xlvi. (Arsoli, Prince) vol. I.

Notizie istor. delta Villa Massimo, ^'■" The documents are to be found

Rome, 1836. in the descriptions of the particular

'" Justi, IVinckelmann, 11. i, p. ■25. collections; see especially Ince, Mar-
See below, Cat., arts. Ince, Marbury. bury, &c.

ANCIEXT MARBLES IN GREAT BRITAIN. [47, 48

Hamilton
and yeH'
kins^ new
excava^
tions.

because he is well-to-do and has no need to deaP^." Jenkins
however came out winner from this contest as from others.
48. In addition to the vast number of antiques which
had long been known, and some of which had already often
changed possessors and now were brought once more into
the market, resources yet untouched revealed themselves
to the spirit of enterprise that distinguished this band.
The soil of Rome and of its environs has at all times
been ready to yield up hidden treasures to the explorer,
even though every one did not possess the divining rod of
Cardinal Albani. As early as A.D. 1761 we hear of exca-
vations which Jenkins set going in Corneto'""; and amongst
the sculptures obtained by Brettingham, for Lord Egremont,
was a Satyr, which Hamilton had dug up in the Cam-
pagna''". But it is not till about the year 1770 that the
succession of grand undertakings begins, in respect of
which the Scotch architect, James Byres (a.d. 1733— 1817),
is occasionally mentioned in conjunction with Hamilton
and Jenkins^". Such excavations were for the most part
started at the risk of those who undertook them, and on
the condition that the owner of the ground, the papal
government, and the Pope himself, should all have a share
in the find. Thus great hazard was involved in every
enterprise, and many an attempt, undertaken at great cost,
remained quite fruitless. Hamilton's practical instinct and
luck in making discoveries displayed themselves in this
connection. In the year 1769 he began this branch of
work with an excavation in Hadrian's Villa, below Tivoli,
that inexhaustible mine, which, worked at intervals ever

comparison of them with the originals,
as the reasonable suspicion suggests
itself that Dallaway lias in this in-
stance too proceeded with his usual
carelessness, especially as to the dates.
Cf. The Academy, 1878, p. 141, 142.
An attempt on my part to get a sight of
the originals has unfortunately come
to nothing. Townley also carried on
a correspondence with Byres for many
years. See Ellis, Tmonhy Gallery,
P- 5-

"' Paciaudi, Leitres h Cayl'is, p.
133 (1760, March 22). Cf. Casanova,
Discorso sopragf antichi, Leipz., 1 770,
p. iii.

19' Paciaudi, /. cit., p. •248 (July
10, 1761).

^o" Petworth, no. 6.

2°' Dallaway, ^«£'i-(/., p. 27,^. The
Extracts of Letters from Gavin Hamil-
ton to Ch. Townley in the same volume,
pp. 364 — 381, are of great value, yet
it would be desirable to make a fresh

48] GOLDEN AOF. OF CLASSIC DILKTTAXTISM. 8l

since the sixteenth century, had yielded for the Farnese
and Este collections, and more recently for the Capitol and
the Villa Albani, an extensive series of their most precious
contents. Hamilton might have every confidence that he
would surely not dig here in vain. As a first step, it was
necessary to divert a lake, the so-called Pantanello, in order
to come at the desired point. The trouble was richly re-
warded by more than sixty marbles, chiefly busts, including
some of the first rank, which were buried in deep slime,
and, partly on that account, excellently preserved. Two
years later (A.D. 1 771), followed an excavation which was
richer in statues, though otherwise perhaps less productive ;
this was on the Via Appia, in the so-called tcnuta del Co-
hmbaro"'"" . The following years were full of fresh under-
takings, attended, it is true, by varying results. Repeated
excavations, besides those on the Via Appia (at Roma
Vecchia), and at Prima Porta, were set on foot in the
country round the Alban Mountains (Albano, Grotta ferrata,
Genzano, Nemi) ; among these that undertaken at Monte
Cagnuolo, between Genzano and Civita Lavigna, was par-
ticularly distinguished for its yield of fine specimens"°^
In the year 1775 followed Castel di Guido, the ancient
Lorium, situated on the road to Civita Vecchia. This
revealed some good sculptures, such as the little Cupid
drawing a bow of the Townley collection^"*. In many
parts of the extensive circuit of the ancient town of Ostia
Hamilton repeatedly broke ground''"', sometimes with con-
siderable results, although the limekilns which he discovered
bore witness to the former destruction of valuable marbles.
At last the malaria of the marshes compelled him to aban-
don his labours. A brilliant close to this prolonged activity
in exploration was made in the year 1792 by an excavation

*•- Or Palombaro, see the map of 35, 43. Petersburg, Hermitage, no. 5

the Via Appia, by P. Rosa, in the (Lyde Browne, Cat. 1779, "°- S^)-
Monumenti deW lnstiluto,V.V\. \-j. -"^ '775= ^'/'"- Marbles, II. 22.

'^ Brit. Miis. II. on PI. 45, X. 1776: ibid. i. 8, III. 5. 1788: Fea,

frontisp. and PI. 25, 26. V'iaggio ad Ostia, Rome, 1802, p. 43.

'** Museum Marbles, II. PI. 33, 1792: Dallaway, Anecd. p. 376.

M. c. 6

82 ANCIENT MARBLES IN GREAT BRITAIN. [48, 49

on the territory of the ancient Gabii {Pantan dd' Griffi),
which Hamilton carried out in conjunction with the owner
of the ground, Prince Marco Antonio Borghese. These
" Momimcnti Gabini" did not however come into the art
market, but were procured in their entirety for the Villa
Borghese, and are at the present day to be found in the
Louvre'°°. Private friends of art derived just as little ad-
vantage from the excavations which the Papal government
instituted in different parts of their territory for the benefit
of the Vatican Museum^"'. On the other hand, Hamilton
and his comrades were by no means the only men who dug
on speculation. For examples we may mention the group
of Muses and the terminal portraits of men of letters, now
forming the chief contents of the Hall of Muses in the
Vatican, which were discovered by Domenico de Angelis
in the Pianella di Cassio, not far from Tivoli {1772) ; a similar
small find in the Villa Fonseca, on the Caelian (1773); an
excavation by Niccolo la Piccola on the road from Tivoli
to Palestrina (1775 — 76); the discovery of the splendid
Massimi Diskobolos in the Villa Palombara on the Esqui-
line (178 1) ; and the excavations of Count Fede in Hadrian's
Villa, which brought to light, among other things, two fresh
copies of the Diskobolos of Myron and the Lansdowne
Herakles (a.D. 1791)'™. After the year 1794 the most
distinguished excavator was an English painter, ROBERT
Fagan, who dug with great success, and in particular ob-
tained rich gains by repeated researches in the soil of Ostia"™.
49. Thus during several decades the soil of Rome and
a wide extent of surrounding country was most zealously

-"* E. Q. Visconti, Aroniimciili — La Piccola : Museum Alarbles, i.

Gabini della Villa Pinciana, Rome, 10, 11. 37. (For another excavation

1797. made by the same person see Ince, no.

-'"' Visconti, Museo Pio Clemen- 30.) — Villa Palombara: Cancellieri,

tino, I. — VH. Guattani, Monumenti dissertaz. epistol. sopra la siatua del

Inediti, 1784 — 1789, 1805. discobolo, Rome, 1806. — CountFede:

208 Tivoli: Alns. Pio Clem., I. on Welcker, alte Denkmdler, i. pp. 421

PI. 8. Museum Marbles, II. 32. — Villa — 424.

Fonseca : Mus. Pio Clem., vi. PI. 20, -™ Fea, Viaggio ad Oslia, pp. 45 — .

24, 31. Museum Marbles, X. PI. 43, i. 57. See § 62, and Cat., art. Deepdene.

49] GOLDEN AGE 01" CLASSIC DILETTANTISM. 83

turned up, and there resulted an abundance of treasures
which might more than content even the most eager pur-
chasers. Naturally these were not exclusively works of either
the first or second rank. Those who undertook the task
might well be content if, amid much chaff, they found a
respectable quantity of good grain, and here and there, once
in a way, a pearl. To single these out a peculiarly refined
taste and practised eye were needed ; to obtain them
when so selected, a heavy purse. For the most part the
newly discovered marbles came out of the earth in a
wretched plight, broken, mutilated, corroded, or encrusted
with the dirt of centuries. It was therefore always made a
great point that they should be properly cleaned — often
to the great detriment of their freshness — and vamped
up with old, or new, additions. Only after such treatment
could they be regarded as fit for a salon. Jenkins, who
knew men so well, made it a reproach to the conscientious
Hamilton, that "he did not understand the taste of English
virtuosi, who had no value for statues without heads; and
that Lord Tavistock would not give him a guinea for the
finest torso ever discovered""." Many purchasers flattered
themselves with the belief that they were in possession of a
genuine, well-preserved antique, when in reality only the
smallest part of it was ancient, and perhaps a peculiar
charm, something quite out of the common and worthy of
mark, had been attached to it by arbitrary additions. Such
additions gave opportunity for marvellous feats in the art
of mystic or other fashionable interpretation. "At Rome,"
says an eye-witness, "you may often see broken statues
made into busts or heads. I myself have looked on while
statues were sawn in half and attached to marble slabs as
reliefs, or conversely, while figures in good condition were
sawn off a relief, and a principal figure thus frequently
made out of a subordinate one. From this we can see

-"' Dallaway in Nichols' Ilhistr. Lord Shelburne, Aug. 6, 1772 (The
Li/.//ist.iu. p. yzS. For Hamilton's ^^aa'^wy, 1878, p. 168).
opinion as to Jenkins, see his letter to

84 ANCIENT MARBLES IN GREAT BRITAIN. [49, 50

what traps are laid for the learned...! only say this to
call attention to the fact of the difficulties which, in a few
centuries time, antiquaries will have with the antiquities of
our manufacture''^"." But who cared for this ? Mmidus
vult decipi, ergo decipiatur was the motto of those Roman
art-dealers. So long as their purchasers were contented
with these cobbled wares, they might leave it to professed
archaeologists to discriminate between the genuine and the
spurious, and seek after the truth with pedantic conscien-
tiousness; for themselves the only question was, what would
by the taste of those times be considered beautiful and paid
for as such. It is essential that we should bear in mind
this predicament of almost all the antiques brought to
England in the second half of the last century, if we would
form a just estimate of their value and make them available
for scientific purposes.

King 50. In the year 1760, the young GEORGE III. ascended

' " ' the throne. He enjoyed the reputation of taking interest in

of Marl- art, especially ancient art^"^ ; and even though he did not
collect marbles, yet he had shown this interest in two ways.
Through the agency of James Adam, a younger brother of
the royal architect, Robert Adam, celebrated for his work
on Diocletian's Palace at Spalatro, the King (a.d. 1762)
purchased from Cardinal Albani his grand collection of
drawings and prints at the price of fourteen thousand scudi
(about three thousand guineas). This collection had been
started in the seventeenth century by the Commendatore
Cassiano dal Pozzo, and was particularly valuable as pre-
serving, at least in the form of copies, works of classic art
which have been since destroyed or lost to sight. The illus-
triousWinckelmann,who was librarian to the Cardinal, might
protest ; but he found his master's need of gold more potent
than his own representations"'. In the Royal Library, dal

^'^ Casanova, Discorso sopra gf -'' Winckelniann to Mengs, 1762,

antichi, pp. xli., xlii., 1. JuU 28 [Open di A. R. Mengs, Rome,

'"^ H. Walpole to H. Mann, 1760, 1787, p. 424); to Usteri, 1763, Jan. i.

Nov. I. T)ova.n, " Mann" and man- For the collection itself see under

ners, U. p. 98. Windsor. A small but valuable por-

50] GOLDEN AGE OF CLASSIC DILETTANTISM. 85

Pozzo's drawings found themselves side by side with those
brought by Mead from Rome, and the latter may per-
haps have suggested the purchase from the Cardinal''*. In
this manner was formed a collection which is perhaps unsur-
passed in its way as a source of archaeological knowledge.
The second acquisition included the collection of gems
belonging to Smith, consul at Venice, who had become
bankrupt ; this, though far inferior to its fame, yet con-
tained a few fine specimens"'''. From the same source came
some drawings, probably at the same time with the con-
sul's select library, which was purchased for the King as
early as A.D. 1762''^ With regard to gems, we may men-
tion that the royal cabinet was far outdone by the precious
collection formed by George Spencer, third Duke
OF Marlborough (succ. a.d. 1758, died a.d. 1817'. To
the Arundel gems, which he obtained from his sister-in-
law, he added the collection of Lord Bessborough, and a
selection of excellent specimens out of the cabinet of
the Venetian Count Antonio Maria Zanetti, together with
other occasional purchases. Thus arose a cabinet of gems
of unusual importance, rich alike in ancient jewels and
in magnificent specimens of the art of the Renaissance;
the Duke had the choicest of these engraved in costly style
and published in a sumptuous ouvrage de liixe^". The

tion of the dal Pozzo collection has the King, then Prince of Wales, had

passed through the hands of Dalton, thought about buying the cabinet of

Macgowan, and Townley into the the deceased Baron Stosch ; see

possession of A. W. Franks, Esq., of Winckelmann to Franke, 1759, Jan. i.
the British Museum. -'" Ashpitel, A., On the Italian

^''' See note I iS. Architectural Drawings in the R.

-" Gori, Dactyliothcca Smithiana, Library at IVindsor. Read at the

ir., Venice, 1767, edited under the Ordinary General Meeting at the

King's patronage. C. D. Fortnum, Royal Institute of British Architects,

Notes on some of the Gems and yr<vels June 16, 1862. Edwards, Lives of

0/ Her Majesty's Collection at Windsor the Founders of the Brit. Mus. II. p.

Castle (Archeeologia, xi.v.), p. 3. Ac- 469. Doran, " Mann" and manners,

cording to Mariette (Letter to Paci- 11. p. 99.

audi, F'eb. 26, 1767, in Nisard's -'^ Cf. §§ 23, 35. Story Maske-

Corresp. de Caylus 11. p. 346), Smith lyne. The Marlborough Gems, 1870,

understood nothing about gems, and p. vi. Choix de pierres gravies du

only collected so as not to be outdone cai. du Due de Marlborough, 11. 1780,

by Zanetti (note 217). Cf. also Lady 1791, 2nd ed., London, 1845. For

Mary Wortley Montagu's Letters and Zanetti see Gori, Gcmmc antiche

Works, III. p. 89. In the year 1758 di A. M. Zanetti, Ven. 1750, fol.

travellers.

86 ANCIENT MARBLES IN GREAT BRITAIN. [50, 5 1

King's love of collecting, which soon became known in
Italy, was used by the Roman dealers, such as Jenkins,
as a means of procuring under this flag unfettered trans-
port to England for works purchased by private individuals,
their exportation out of the Papal States being in ordinary
cases forbidden'"*. Thus the King's interest, even though
illegitimately employed, stood his art-loving subjects in
good stead.

British 5 1- The number of Englishmen who visited Rome

was meanwhile continually on the increase. The longing
to visit that wonderful city was not a little awakened or
stimulated by the magnificent engravings in which the
Venetian GlAMBATTiSTA Piranesi (a.d. 1721 — 1784), who
was afterwards assisted by his son Francesco, represented
the ruins of the Eternal City with wonderful poetic feeling
and artistic skill. The four folio volumes of his Roman
Antiquities, dedicated originally to Lord Charlemont, ap-
peared A.D. 1756 ; the Views of Rome about a quarter of a
century later. Piranesi's name was soon in everybody's
mouth, his works in the libraries of all dilettanti. Men made
pilgrimages to Rome to acquaint themselves with these
astonishing monuments; whether their exalted expectations
were fulfilled or disappointed, depended on the degree of
enthusiasm and poetic feeling which they brought with
them. We become acquainted with many of the English
travellers of this day from Winckelmann's letters"'". They
included some very original characters, such as Lord Bal-
timore, who under Winckelmann's guidance ran through
the Villa Borghese in less than ten minutes, and cared for
none of the ancient statues except the Apollo Belvedere"".
The Duke of Gordon "shewed scarcely a trace of animation
as he sat in his carriage, while Winckelmann described to

Cf. Walpole to Mann, 1762, Jan. 4. ^'* Cf. note 192.

Mariette to Paciaudi, 1765, July 10, -'^ Justi, IP'iticMmaim, 11. 2, pp.

1768, Febr. i, March 18 (in Nisard's 34 — 40. Winckelmann to Genzmar,

Corresp. de Caylus, 11. pp. 329, 353, 1764, Dec. 12.

359). The Duke paid ^'480 for four --" Winckelmann to Usteri, 1763,

specimens. Jan. i;.to Franke, 1763, Jan. ij.

si] goldf.n age ok classic dilettantism. 87

him, with the choicest expressions and grandest illustrations,
the beauties of the ancient works of art""'." With regard to
one or two others Winckelmann says: "They walk into
your house like very sticks, in a glamour of hypochrondria,
and like men who understand nothing of the spring-time of
life ; for to joy they are strangers. How can any host take
pleasure in such charcoal souls'*'^".'" However they were not
all like this. Many evinced the liveliest interest in nature and
art, and Cavaceppi and Jenkins could relate stories of the
way in which this interest proved its activity in hard cash.
We have only to turn over the leaves of the three volumes
of Cavaceppi's Raccolta d' antiche Statue, published in the
years 1768 — 1772, if we would learn how great a part of
the sculptures that had passed through the hands of that
restorer have found their way to England ; at the same
time the great number of those which are merely described
as "to be found in England," but are no longer traceable
at the present day, shows how many may still lurk here
and there in unknown hiding-places"''^ No price was too
high for the British purchasers ; thirty thousand scudi
(about six thousand guineas) were offered to Cardinal
Furietti for the two black marble Centaurs which now
stand in the Capitol ; and Locke had already advanced one
thousand zecchini {£600) for the Barberini candelabra, but
could not get permission to take them out of the country"\
They afterwards (a.D. 1770) found their way into the Vatican.
"Perhaps it will occur to some mad Englishman to have
even Trajan's column transported to London," — this indig-
nant utterance of Winckelmann describes the British passion
for costly undertakings, against which as "President of

--' Winckelmann to Usteri, 1763, third volume there is a Venus repre-

March iS. sented, which went to the bottom ol

*-- Winckelmann to Fuessly, 1 767, the sea on the voyage from Italy to

June 3 ; to Riedesel, 1767, June 1. England.

•'■' A'at:i:o//a, I. Is — 21,35,38,39, -'-'■' Winckelmann to Riedesel,

41, 43; II. 6; III. 2, 7, 13, 18, ip, 1763, April; to Muzel-Stosch, 1763,

*6, 29, .30, 32, 34, 37, 39, 42—44, Dec. 7; 1766, Oct. 4.
4?! 49> 5'> 52- On l''- '6 of the

88 A^•CIENT MARBLES IN GREAT BRITAIN. [51,52

Antiquities" he had in the interests of Rome to con-
tend"'.
Lyde 52. Certain collectors, almost exclusively members of

Brmmie. , _ . /- i-%-, • , - i

the Society of Dilettanti, stand out conspicuously among
this great crowd. One of the most persevering was Lyde
Browne, who had been active ever since about the middle
of the century in forming the collection of sculptures which
adorned his house at Wimbledon. He continued these
efforts during thirty years, availing himself in great mea-
sure of the assistance of Jenkins. When he first issued a
catalogue in the year 1768^^^ the collection already in-
cluded a considerable number of sculptures, chiefly busts,
which had been obtained, partly from contemporaneous
excavations, partly from various Roman palaces and villas
(Barberini, Giustiniani, Massimi, Spada, Verospi, etc.).
Like Lord Leicester's agent Brettingham, and like Town-
ley at a later date, Browne also obtained not a few speci-
mens from Cardinal Albani. But the most important
additions were made in the following decade, when Hamil-
ton and his associates developed that activity which has
been described above; a new catalogue dated a.d. 1779°"
shows a very marked increase, including numerous speci-
mens due to the excavations conducted by Hamilton. It
almost appears as if Browaie had contemplated the pub-
lication of some of his finest pieces ; at any rate two statues,
twenty busts, and a relief were drawn by Cipriani on sheets
of large-sized paper, which quite give us the impression
that they were meant to serve as materials towards a pub-
lication'^. Two of these drawings represent busts which

'-^ To Muzel-Stosch, 1768, Febr. Hire Inglcse, a Wimbledon, nella Con-
id. tea di Surry, raccolti con gran spesa

"^ Catalogiis velcris acvi varii r.el corso di trenf anni, niolti dei quali

generis monumentorum, quae Cime- si amm/raz'ano prima neile pin celebri

liarchio Lyde Browne Arm. afud Gallcrie di Rovia. London, 1779.

Wimbledon asservantiir. 1768. (In (In the Brit. Museum. ) This is pro-

the Brit. Museum.) bably the catalogue which Dallaway,

'" Catalogo dei pill scelti e preziosi A need. p. 389, got printed in the year

marmi, che si conservano nella Gal- 1787.

leria del Sigr. Lyde Browne, Cava- "-* These hitherto unused draw-

52]

GOLDEN AGE OF CLASSIC DILETTANTISM.

arc to be found in the Hgrcmont Collection at Pctworth™;
and some remarkable specimens of the Browne collection
have reached the British Museum through Tovvnley's hands,
such as the beautiful head of a barbarian (" Decebalus ")
and an excellent head of an Amazon of the type ascribed
to Polykleitos'^". The final fate of the collection is also
worthy of remark, as it is one of the few which have found
their way out of England again. The I'^mpress Catherine
II. of Russia had engaged in the purchase of all kinds
of antiques at Rome through the agency of Cavaceppi"^'.
In the year 1780 her purchase of Lord Orford's valuable
picture gallery at Houghton Hall, at the price of thirty
thousand pounds, showed that such undertakings might
succeed in England as well as elsewhere ; and in a.d.
1785 an agreement was concluded with Lyde Browne by
which his collection as it then stood passed for the sum of
twenty-three thousand pounds into the possession of the
Empress'^^ The affair, to be sure, was not brought to a
conclusion without a hitch. Either the imperial agent
became bankrupt after Mr Browne had received his first
instalment, and the rest of the sum could not be recovered
from the Empress"'; or else, as another account goes, "the
imperial Catherine failed in performing the whole agree-
ment, to the satisfaction of the representatives of that
gentleman '•''^" Wc may therefore infer that the entire

ings have been in the British Museum
sinceA.D. i855,MS..'\.dd. 21118. They
must have been made between a.d.
1768 and 1779, as the numbers written
on some of them refer to the older
catalogue of 1768. The specimens
which are not specified in this are not
numbered at all. Sundry more ex-
tensive notices about Browne's pur-
chases may be extracted from Town-
ley's Memoranda in the Bodleian
Library, Oxford.

--" Nos. II and 15 of those draw-
ings = Petworth nos. 38, 66.

^'' Ancknt Marbles Brit. Mus.
n. PL 27, III. 6, X. 3, 5, XI. 37.

^' See Cavaceppi, Raccolta, and

Guedeonow„ Ermitagc Inip^rial^ Mii-
si'e dc Sculpture antique, I"*" ed. , Pe-
tersburg 1865, pref.

-^- The date according to Dalla-
way. Of Statuary and Sculpture, Lon-
don, 1816, p. 274; in the Anecdotes
he had said "about the year 1787."
The sum he states in both places at
the same figure ; in the book of draw-
ings (note 228) only £zo,o<xt is men-
tioned.

-"■•^ So according to Dallaway,
Anecdotes (1800) p. 389.

'-^* So in Dallaway's later ver-
sion; Of Statuary (\?,ih) f. -iT\. Or
should we read ' ' dissatisfaction " ?

90 ANXIENT MARBLES IN GREAT BRITAIN. [52, 53

collection had not yet been removed to St Petersburg, a
conclusion which seems to be confirmed by the actual con-
tents of the collections in that city'^°. And in this case the
acquisitions of Lord Egremont and of Townley, already
mentioned, may have been made from that part of the
collection which remained in England.
Lord Pal- 53. In the year 1764 the young Henry Temple,
"u^JTi) second Viscount Palmerston, made his Italian tour,
iVal- and brought back to Broadlands a small collection of

modcn. , . , .

paintings and marbles. He had entered mto busmess
relations with Hamilton and Cavaccppi; whether he had to
do with Jenkins as well is not apparent. Conspicuous
among the ancient marbles is a colossal head of Aphrodite,
which has unfortunately undergone rather serious injury.
Though of good Greek work, the Viscount bought it for
the insignificant price of five pounds, perhaps because the
head had remained without any renovation. It is this
very fact which in our eyes raises its value"^^ Far more
important were the purchases made in the following year
by William Weddell, Esq., one of the first on whom
Jenkins tried his skill in dealing : Weddell also had
transactions with Nollekens and Cavaceppi. He had to
pay high, and sometimes enormous, prices, but the selection
with which he adorned his country seat of Newby Hall
was undeniably valuable and tasteful. The Aphrodite and
the Athene are comparable with any statues in private
English collections ; among the colossal busts there are
some of unusual interest and exalted beauty, and among

235 fi^g sculptures, fonnerly all randum concerning his purchases, for

together in the Castle Zarskoje-Sselo, acquaintance with which I am in-

are now some of them in the Castle debted to the kindness of the Rt.

at Pawlowsk (Stephani, Mem. de Hon. W. Cowper Temple. Lord Pal-

PAcad. \Itnp. dc St. Pclersbourg, 7th merston travelled in the company of

series, vol. xvili.), and some in the Garrick and others ;cf.Doran,"A/aKK"

Hermitage (Stephani, Bidletin de and manners, 11. p. 114. In the

tAcad. XVII. p. SCO — 512). Several year 1770 Lord Palmerston had the

of the principal specimens are not interesting monument of the Secun-

forthconiing in St Petersburg. dinii at Igel near Trier drawn by W.

-^'^ See below. Catalogue, art. Pars, who accompanied him on a

Broadlands. The date is settled by renewed tour, see Schorn,.^Ma«a'/.a'.

Lord Palmerston's autograph memo- Bayr. Aiad.XU. p. 272.

S3, 54] COLDEST AGE OF CLASSIC DILETTANTISM. 9 1

the sarcophagi two of great interest. For the most part
these sculptures had only come to light quite recently, but
among them seem to have been a few which had held a place
among the known antiquities of Rome as early as the six-
teenth century. Weddell showed a refined taste in the sort
of sculpture gallery which he built in immediate connection
with his dwelling rooms ; it consisted of three comfortable
chambers of moderate dimensions, greatly conducive to quiet
enjoyment of the marbles. The piety of his successors
has maintained the original character of this gallery
quite intact-". In the same years Hans LUDWIG VON
Walmoden, Minister Plenipotentiary for Hanover at
Vienna, was forming his collection, one of some import-
ance, combining original antiques with excellent copies of
the most famous ancient statues ; the latter were executed
by Cavaceppi, Albaccini and others. Cavaceppi and Hamil-
ton, with Nollekens, were the chief agents in these pur-
chases. As son of the Countess of Yarmouth, Walmoden
stood in close relations to the Court of George H.; but
his collection gained a heightened interest in the eyes of
English connoisseurs from the fact that the possessor was
compelled to part with a large portion of it at a later time.
Lyde Browne was one of the purchasers. What is now to
be seen in the palace of Herrenhausen near Hanover is there-
fore only a remnant of the original Walmoden collection'^.

54. Among the Englishmen who at that time visited ^'^'^>
Rome, but contented themselves with a smaller number oi Richmond,
ancient sculptures, there are still a few who deserve j"nninosl

-''' See Catalogue, art. Newby Library, O.N;ford; thus for instance we

Hall. find that the nymph with the shell

•Hi Veneichniss der BUdhauer- in Pawlowsk (No. ii Stephani) had
werke (s'c. in den kgi. hannoverschen passed from the Walmoden collection
ScAlossern, Hann. 1844, pp. 3 — 43. and been purchased by Lyde Browne.
Cf. Gori, Archivio Storico di Roma, This w^as after the year 1779, as at
II. p. 214 (May 27, 1761). Winckel- that date it is not to be found in the
mann to Schlabbrendorf, 1765, Jan. i. Catalogue (note 227). The Aslraga-
Justi, IVinckelmann, II. 2, p. 318. lizusa of the Townley collection
Several interesting notices in reference (Afus. AfarMcs, 11. PI. 48) also be-
to that collection occur amongst Town- longed formerly to Walmoden (Winck-
ley's Memoranda in the Bodleian clmann, Gcsch. d. Ktinst, xi. 3, id).

92 ANCIENT MARBLES IN GREAT BRITAIN. [54

Lord mention. William Locke, Esq., a descendant of the
Lord Yar- f^mous philosopher, had as early as the middle of the
borough, century, while staying at Rome, where he habitually as-

Lord Law- jo

dor, &=€. sociated with Wilton and Cipriani, acquired a lively interest
in ancient and modern art ; and had from time to time
exerted himself to adorn his mansions in Norbury Park,
Surrey, and Portman Square, London, with a few select
specimens. We have already mentioned how he meditated,
but did not effect, the acquisition of the Barberini cande-
labra"^ The gems of his collection were a Diskobolos,
and a beautiful torso of a Venus, which has become famous
by its eventful fortunes. When Locke sold his antiquities
in subsequent years, the torso, for which the Empress of
Russia had sanctioned the offer of eight hundred pounds,
passed for the same sum into the possession of Ch.\RLES
Lennox, third Duke of Richmond. This Duke of
Richmond was a great lover of art, who, as early as
the year 175S, had arranged in his house in Privy
Gardens, Westminster, a gallery of plaster casts for the
benefit of art students. Here the torso happened to
be when a fire broke out in the house, A.D. 1791. The
marble was much injured by the flames, and afterwards, at
the sale of the Duke of Richmond's works of art, A.D. 1820,
it was purchased for a guinea by a dealer in casts, who
sold it again six weeks later to the painter Dcvis for fifteen
pounds, soon after which it was transferred to the British
Museum for the same price"". The Diskobolos was ob-
tained by a member of the Dilettanti society, CHARLES
DUNCOMBE, Esq., who already possessed at his country
seat of Duncombe Park a small number of statues and
busts ; to this he afterwards added a celebrated specimen,
a dog, which Horace Walpole reckoned among the best
representations of animals in classical art^". This dog

^3» Note 224. 180. Anc. Marbles Brit. Mus. xi.

-■'" Nochden in Bottiger's Amal- PI. 35.

thea III. Leipz. 1825, pp. 3 — 18. ^' Sec Cat., art. Lluncombe Park.
Smith, NoUekens n. pp. 168 — 173,

54]

GOLDEN AGE OF CLASSIC DILETTANTISM.

came from the collection of H. COXSTANTIXE JENNIXGS,
of Shiplake, once an ardent customer of Cavaceppi's, whose
art treasures were afterwards put up to auction'''^' Among
the customers of Nollekens was the Earl OF Exeter,
who behaved in the most generous manner in the disposal
of his antiques. He not only presented to the British
Museum the Arundel bronze head of 'Homer,' which he
had bought at Mead's auction, but also gave an excellent
head of Niobe, purchased from Nollekens, to the Earl
OF YarboROUGH, who independently of this gift pos-
sessed one or two good marbles"'. Mr Hope obtained
in the year 1763 a few antiques, notably a group of two
boys, playing with knuckle-bones'". Many of the collec-
tors who have been already mentioned were probably also
active at this period ; the Earl OF Bessborough, for
instance, does not seem to have formed his collection at
a single purchase ; and more than one of the DuKES OF
Devonshire assisted the efforts of the Dilettanti. The
Marquis of Monthermer, whose antiquities passed
into the possession of the DUKE OF Buccleuch"", Lord
Camelford"', Sir John Macpherson'", and Lord
Cawdor may also have made collections at this time,
but it is impossible for me to speak more exactly on
the subject. The same Lord Cawdor was one of the

=^- Cavaceppi, Raccolta, I. PI.
6 — Q. The Athlete came into Lord
Cadogan's possession (Dallaway, A-
lu-cd. p. 390).

-■"^ See Cat., art. Brocklesby, nos. 5,
15. Lord Exeter also possessed a Bac-
chus (Dallaway, Anecd. p. 390). If I
am not mistaken a sale of objects of art
once took place at Burleigh House.

-■" Winckelmann Montim. Ined.
I. p. 41, and in a letter to Bianconi
1763 March 26(Fea, .SVoWain. p. 256).
See Heydemann, KnochelspUlerin im
Palast ColoHim, Halle, 1877, p. 17.
Cavaceppi, Raccolta I. 22 (Venus). I
do not know where these marbles are
kept, certainly not at Deepdene, al-
though Hope belonged to the Scoto-
Dutch family, so that the title of

' Lord ' was only conferred on him by
Cavaceppi and Winckelmann owing
to Italian misuse thereof.

-^ Both were members of the Dilet-
tanti Society. Dallaway, Anecdotes,
pp.337 — 339, enumerates threestatues,
fourteen busts and four miscellaneous
specimens at that time set out in
Privy Gardens, Westminster. So far
as I know the collection was not
conveyed over to Montagu House,
but is dispersed. Cf. moreover Waa-
gen, Trcas. i. p. 37.

'""^ Dallaway, Anecd. p. 386: a
fountain Nymph and several other
good statues.

-■'' Dallaway, Anecd. p. 386 : about
twenty mutilated heads, and two small
figures, im])erfect.

ANCIENT MARBLES IN GREAT BRITAIN. [34, 55

first men in England to start a collection of painted

vases"^'.
Founding jj_ These English collectors of the seventh decade of

"vattan the last century had in their purchases at least the advan-
Muscum. ^^^^ ^^ ^ scarcity of rivals. The French appear to have
taken no part in the competition '*^ with the exception of
Count Caylus, who however collected no marbles and who
died as early as A.D. 1765. The Russian Empress and the
King of Prussia, the Prince of Dessau and General Wal-
moden, were the only competitors besides a few private
individuals, and their purchases seldom exceeded moderate
limits. Of Romans themselves, hardly any made a collec-
tion except Cardinal Albani, and he had in essentials
already completed his purchases. This state of things
was suddenly and completely changed by the death of
Clement XIII. (whose interest in art had limited itself
to providing the naked angels in his pictures with clothes,
and the antique statues in the Belvedere with tin fig-leaves),
and by the accession of the cultured Cardinal Ganganelli
to the papal throne, under the name of Clement XIV. (A.D.
1769). At this time it seemed once more, as at the
beginning of the century, as though the enormous export of
antiques, particularly to the "galleries of the Scauri and
LucuUi of Great Britain''"','' were threatening Rome with the
loss of her choicest treasures, and all the more so from the
richness of the yield just then in course of being gathered in
from the excavations newly undertaken by Gavin Hamilton
and others. The Pope therefore decided to follow the

"^^ The collection enjoyed a high qiCii Paris il «> ait point (Tamatcurs

reputation, see Dallaway, Anecd. pp. ...je crois que c'cst comme chez nous,

388, 391. Of Statuary, \>. no. In personne ne fait plus de cabinet... J e

the sale in the year 1800 such men as suis vraiment fdche que ces diables

the following interested themselves as d' Anglais emportent dans kur pays ces

purchasers: Townley [Anc. Marbl. belles antiqtiitcs." Caylus confirms

Brit.Mus.m.V\.^, x. P1.27),Blundell this, see Nisard, Cm-respondance inedite

(see Ince,pref.), the Duke of Bedford du Comte de Caylus, Paris, 1877, I.

(seeWobum, nos. 61, ioi,&c.). For p. 144-

the vases see Dallaway, p. 387. "*" Guattani, Mon. Ined. 1784,

'^^^ Paciaudi to Caylus 1760 Jan. p. 9.
23 {Leltres, p. 1 18), "je suis Men etonni

55] GOLDEN AGE OF CLASSIC DILETTANTISM. 95

example of Clement XII. and Benedict XIV. by starting
as a collector himself, and he received the most ardent
co-operation from his treasurer, Monsignore Braschi ; who
in the year 1775 succeeded Clement in the chair of Saint
Peter as Pius VI., and carried out on a much extended
scale the plans of his predecessor. Instead of enlarging
the Capitoline Museum, it was soon thought more ex-
pedient to append a new museum, the MUSEUM PlO-
Clementinum, to the already long-illustrious Belvedere
statues in the Vatican Palace. The superintendence
and publication of diis collection were entrusted to Giam-
battista Visconti, and after his death, to his son, the great
Ennio-Quirino. The right of the government to forbid the
export of valuable specimens, which now resembled a right
of pre-emption, was more stringently exercised, and a
severe rivalry maintained against foreign amateurs for the
acquisition of high-class marbles. On the other hand, enter-
prising spirits were encouraged to begin fresh excavations,
the government waiving certain onerous preliminary rights.
Moreover the government itself, in emulation of private in-
dividuals, undertook, for the benefit of the new Museum,
several excavations that proved highly productive. The
rooms of the Museum increased yearly in space and mag-
nificence, and when about ten years had passed, although
by no means completed, it was considered the first Museum
in Rome and even in the world^^'. In truth it was high time
for the Eternal City to bestir itself. In the year 1775 one
of the most famous collections, that of the Villa Medici,
was removed to Florence, whither some of the principal
specimens had already been taken a century before. The
imminent extinction of the house of Farnese in Parma
threatened with the same fate the collections of the Far-
nese Palace and the Farnesina. These were actually trans-
ported to Naples in the year 1787, after the King of Naples

"' A detailed history of the Vati- The works nientioned in note 207
can Museum has not yet been written. furnisli the principal data.

ANCIENT MARBLES IN GREAT BRITAIN. [55, 56

Competi-
tors from
other
quarters.
Charles
'J'oii'nhy.

had succeeded to the inheritance, and were there combined,
in the Museo Borbonico, with the splendid results of the
Herculaneum excavations.

56. This new enterprise on the part of the papal
government made it harder for private individuals to com-
pete. All the more credit therefore is due to those
who entered the field in spite of obstacles. They some-
times met with brilliant success, a success which, to be
sure, was only rendered possible by the spirit of enter-
prise displayed as above narrated by Hamilton, Jenkins
and others. The Pope's example and the activity of the
foreigner seemed to have their effect even on the Italians
themselves. Monsignore Chigi and the Prince Borghese
engaged in excavations on their estates which proved
highly productive, while Monsignore Borgia struck out
other ways of forming for himself a remarkable collection.
The Spanish Ambassador, Azara, developed in this direc-
tion great eagerness and activity, the fruits of which at a
later datewere turned to the advantage of the Royal Museum
at Madrid ; just as the similar exertions of Cardinal Despuig
served to embellish a distant country house on the Island of
Majorca. The Spanish Cardinal Zelada, again, formed a col-
lection of coins. Gustavus III. King of Sweden, and the
Landgrave Frederick II. of Hesse, employed a brief sojourn
at Rome in founding or enriching the Museums at Stock-
holm and Cassel. Polish emigrants such as Poniatowsky
and Potocki were among the followers of the fashion. The
front rank however was still occupied by the English, nota-
bly by Charles Townley (a.d. 1737— iSos)'"''. This
gentleman sprang from an old family in Lancashire, and was

"'^ The principal autliority on
Townley is the memoir by Dallaway,
which first appeared a.d. i8ii in
The General Chronicle and Literary
Magazine, vol. v., and was after-
wards republished in John Nichols'
Illustrations of the Literary History
of the Eighteaith Century, ni., Lon-
don, 1818, pp. 721 — 746, and in the
extract in Dallaway's Of Statuary,

p. 3'24. From this source Ellis' ac-
count. The Tcnvnlcy Gallery, I. pp.
I — 13, is almost exclusively derived ;
of. Edwards' Lives of the Founders of
the British Museum, pp. 369 — 380.
There are shorter articles in Chal-
mers and in the Biogi-aphie Uni-
verselle, and several interesting details
in Smith's Nolleketis, I. pp. 257 — ■
266.

55] GOLDEN AGE OF CLASSIC DILETTANTISM. 97

on his motlicr's side a descendant in tiic sixtli degree of
the old ICarl of Arundel. He was broiiglit up in France,
and his first visit to Italy was paid in the year 1765. As
an ardent Jacobite he found all doors open to him at
Rome, where he lived for a good many years ; he also
visited the South of Italy and Sicily. At Naples he struck
up a friendship with William Hamilton, the British Envoy,
and it was in this cit)- that he formed that acquaintance
with the adventurer Pierre Francois Hugues, which proved
so perversive of his scientific views. Hugues, a native of
Lorraine, is best known to us under the pseudonym which
he had then adopted, Hancarville''^'"'. It must have been
this companionship which awakened in Townley that in-
terest in antiques which he soon displayed with such spirit
and munificence that he may be designated the successor,
not merely in time but in spirit, of Cardinal Albani. He
entered into close connection with Gavin Hamilton and
Jenkins, and had a considerable share in their under-
takings, which he promoted with his gold, sharing with
them their risks and their successes. His first acquisition
was that remarkable fragment, the group of two street
boys who have fallen out over their game at knuckle-
bones. This he purchased, A.D. 1768, from the widowed
Princess Barberini. In spite of the competition set on foot
in the mean time by the Vatican Museum — Townley being
in Italy A.D. 1765 — 1772, and Clement XIV. having begun
to collect A.D. 1769 — in spite of this, the Roman collections
and the new excavations afforded sufficient opportunity to
Townley for the formation of a rich collection, which he b>'
no means restricted to marbles. Bronzes, coins, gems, vases
were obtained at great expense, while a look-out was also
kept for drawings. To a collector of such means and such
zeal, four years' residence at Rome must have been suflficient
to put into shape a museum such as might well challenge
comparison with any of the collections of his countr}-men.

"■'' Justi, IVinrhlniiinn, II. 2, p. 3S1.
M. C. 7

gS A^'CIENT MARBLES IN GREAT BRITAIN. [SJ

Tcmmhyin 57- In the year 1772 Townlcy quitted Rome and
London. jy,Qyg(j jjjg quarters to London, where he bought himself a
house in Westminster (7, Park Street) and fitted it up ac-
cording to his tastes. Here the sculptures he had up to
this time acquired found a suitable resting-place. Neither
his relations with Rome, however, nor his purchases, by any
means came to an end ; on the contrary, he remained in
constant communication with Hamilton and Jenkins, and
re-visited Rome himself from time to time. Thus for about
twenty years his collection still kept continually receiving
rich additions from Italy ; being farther increased by all
kinds of purchases in England {e.g. from Lyde Browne) and
by presents, as from Lord Cawdor. It was not till within
the last ten years of the century that it could be regarded
as on the whole completed, though even then, until a short
time before Townley's death, single specimens were occa-
sionally introduced. By this time it formed one of the
greatest sights in London, and might in fact have taken a
high place among the collections of antiques of the day,
not only in England but in all Europe. The sculptures
were distributed with rare taste in the various rooms of the
house, so that the visitor found his impressions being con-
stantly deepened. Hall, staircase, and parlour were adorned
by preference with sepulchral monuments, inscriptions, and
terra cotta reliefs. The drawing-room contained a selec-
tion of the most beautiful busts, including Townley's
favourite, that exquisite portrait of a Roman lady, which
is best known under the name of the Clytie; other heads,
such as that of Homer, with its pictorial mode of execution,
served as appropriate adornments for the library. But the
most brilliant room was the dining-hall, against the walls
of which stood the finest statues of the collection, while
outside the windows the glance swept over the pleasant
verdure of St James's Park. In this room Townley de-
lighted to give on Sundays dinners worthy of their sur-
roundings. His guests were partly artists, partly his friends

57, SS] GOLDF.N AGE OF CLASSIC DILETTANTISM. Qy

among the Dilettanti Society (which Townlcy joined in the
year 17S6), partly foreigners of distinction. An event of
importance occurred in the j-car 1784, when, in company
with Sir William Hamilton, Hancarville came to pay a
long visit at Townley's hospitable mansion, and there
finished his great work"'*, a fantastic farrago of mystico-
symbolical revelations and groundless hypotheses which
utterly captivated both Townley and Payne Knight. This
was the wisdom which Townley delighted to dish up for
the visitors to his collection, towards whom he always dis-
played the greatest amiability and liberality — a genuine
mystagogue of the most genial type. A painting by
Zoffany, a regular guest at the house, represents Townley
in his library, surrounded by his beloved books and a few-
chosen antiques, in conversation with Hancarville, near
whose chair stand Charles Greville and Thomas Astle :
it affords a lively illustration of the animated intercourse
which we may suppose to have been occasioned, at the
focus of antiquarian science and antiquarian interests, by
Hancarville's presence in London^.

58. Another Lancashire man, a friend of Townley, //. BUm-
though considerably older, was HENRY Klundell (a.d. '^'*'
1723 — 1810), resident at Ince'^. It is said that he accom-
panied Townley on one of his journeys to Rome, and was
there seized with the rage for collecting ; according to
another account, he already possessed his best specimens
before he became acquainted with Townley. At any rate
it is certain that his first purchases were made from
Jenkins in the year 1777"'. At that time Blundell was
already fifty-four years of age. But, as if eager to make
up for lost time, he pursued the undertaking he had

"< Reehirchc's siir rOrigine, FEs- lions. III. p. 739 (repeated : 0/

pril et ks Progris dis Arts de la Grice. Slatuary, p. 3SJ). Spiker, Rdsc durck

London, 1785, n. 4(0. Englaiul im J. 1816, Leipz., 1818,

'" The original is in Townley I. pp. 396 — 403. For the rest see

Hall, and has been engraved. under Ince.

^* Dallaway in Nichols' Jlluslra- ^' Sec on Ince, no. 4^.

7—2

lOO ANCIENT MARBLES IN GREAT BRITAIN. [58

begun with zeal and energy. Visconti, who knew him
personally, calls him a man of fine taste'"^*. Blundell him-
self bore the expressive motto age qjwd agis. His chief
agent was a Mr Thorpe, once a member of the now extinct
order of Jesuits. Jenkins remained the principal purveyor,
and from his stores numerous specimens, which had once
stood in the Villa Mattel, found their way to Ince, whither
they were afterwards followed by the most important
specimens of the Villa d'Este and a few from the Villa
Negroni. There are many among this number which do
not serve to raise our opinion of Jenkins' business prin-
ciples ; for instance, not a few sepulchral monuments,
which had hitherto stood in the Villa Mattel without in-
scriptions, were in the interval made more valuable by the
addition of 'antique' inscriptions. Many other collections
were ransacked besides the depot of Jenkins, and the most
various dealers in art were laid under contribution. Im-
portation in this quarter continued till after the year 1790,
and many piquant particulars are related in connection
with it; as, for instance, that on one occasion Blundell
recognised and bought among some French war plunder in
London a relief (Ince, No. 221), which he had himself on .a
previous occasion purchased in Rome and presented to the
Pope. At the beginning of our own century sales in London
still yielded rich and precious objects. An example full
of comic naivete of the manner in which people at Ince
thought they might deal with remarkable monuments to fit
them for modern inspection is furnished by the marble
numbered 25 in that collection. The Ince marbles could in
no wise be compared as to quality with those of Townley,
which they perhaps even surpassed in number; but still
they do not deserve the contemptuous verdict which has
been passed upon them in many quarters. The worst feature
of the collection is that its really good and in several
instances exquisite specimens are thrown into the shade

M8 Visconti, Museo Pio Clem., III. on PI. A, y.

58, 59] c'-oi.nKX .u;f. of classic dii.i'.ttantism. ioi

by so many that arc unimportant or quite worthless, or
badly disfigured by restorations, or spurious. No collec-
tion in the world had need to be ashamed of the Theseus
(No. 43). Among the heads, as among the reliefs, there are
many of distinguished merit; but sight and mind become
stupefied if they have to toil through hundreds of inferior
marbles. A rigorous wceding-out could only have height-
ened the value of the collection, and the praise expended
by Visconti on the collector is misleading. It is still worse
if we read the commentaries of the collector himself, which
he partly set forth in a printed catalogue (A.D. 1803),
partly dictated on his death-bed, as the text for a great
illustrated publication (A.D. 1809). Side by side with most
homely trivialities we here once more encounter that insipid
mystic symbolism of Hancarville, which seems to be in-
spired by Townley, but is not seldom criticised in a re-
freshing manner by a rationalistic doubt of Blundell's
own. The collector's love for his treasures gave further
proof of its sincerity in the stately buildings which he
had erected for their reception. The dome-room of the
so-called Pantheon is in fact a very imposing chamber,
which may well remind us, si parva licet coniponere magnis,
of the Rotunda of the Vatican Museum. The museum at
I nee accordingly became a favourite resort for lovers of
art and curiosity from the neighbouring Liverpool, to such
an extent that the comfort of the inmates was occa-
sionally disturbed thereby, and in consequence obstacles
were placed in the way of visitors. Smith-

59. It was chiefly from the same sources and about j\/!,mc'i-
the same time that JamES Smith-Barry formed the col- '/}'/''"'• S"'

Ihontas

lection with which he adorned the gallery and a hall olRohiitson,

Duke of

his country seat, Marbury Hall in Cheshire''"''. The names Dorset, sir
of Hamilton and Jenkins, of the Villas Mattel and Este, f„ul'''j^ukt
once more come before our notice, so that the collector "/•'''

Alhans,

appears to have been a direct rival to Blundcll. The £.-"'•

-" See Cat., art. Marbury.

102 ANCIENT MARBLES IN GREAT BRITAIN. [59

limitation in number to a comparatively few specimens can
scarcely be regarded as a disadvantage; for the more valu-
able statues are more easily appreciated among them. We
must regard as its brightest ornament the ara from Naples,
transformed by the restorations of Jenkins into a vase,
representing Paris captivated by the beauty of Helen, the
Roman imitation of a Greek original. Besides this we
must not pass over one or two small but genuine Greek
fragments in this collection, as such treasures were at that
time seldom met with in English galleries. — The activity
of Thomas Mansel-Talbot, who also amassed his sculp-
tures through the help of Hamilton and Jenkins^"", dates
perhaps from a somewhat earlier period, apparently not
later than the eighth decade of the century. His little
collection included two or three specimens of considerable
merit, quite undeserving of the fate, which they shared with
the Petworth marbles, of lying packed up for a long time
in their cases until a place was cleared for them in the
conservatory. To the remoteness of Margam Abbey (it is
probably the only place in Wales which can boast of a
collection of ancient marbles) we must ascribe the fact that
the antiques in the conservatory and afterwards in the hall
have remained scarcely less unknown to the learned world
than at the time when they were still shut up in their
cases. — Among the collections of still smaller extent which
were, like these, formed by Jenkins' assistance at that
period, the following deserve mention. SiR THOMAS
Robinson founded the collection, consisting especially
of busts and statuettes, which is to this day to be found
at Rokeby HalP''^ Its chief attraction was a large relief of
the children of Niobe, found at Naples ; this was to have
been sent by the King of Naples as a present to the King
of Spain, but fell into the hands of English men-of-war.
— Busts again form the majority of the sculptures with

-^'' See Cat., art. Margam.
'-«' See Cat., art. Rokeby Hall. Dallaway, Aiucd., p. 3S8.

59, 6o] GOLDEN AGE OF CLASSIC DILETTANTISM. I03

which John Frederick, third Duke ok Dorset (died
A.D. 1799), decorated the venerable rooms at Knolc ; but
they arc far exceeded in value by the remarkably well-
preserved statue of Demosthenes, which found a worthy
resting-place in the ancient hall of that mansion"^ — SiR G.
Strickland set up about a dozen marbles in Boynton
Hall. The taste displayed in their selection was spoken
of in high terms. Especial admiration was bestowed on
one statue of a so-called Juno, remarkable equally for its
workmanship and for -its preservation'"^. — GEORGE, LORD
Temple, afterwards Marquis of Buckingham (a.d.
1753 — 18 13) adorned the spacious gardens of Stowe with
a few marbles, especially vases artistically enriched, which
he had brought with him from Italy in the year 1774"^. —
George, third Duke of St Alban's {d. a.d. 1786)
brought home about a.d. 1780 a number of marbles from
Rome of less importance. The finest of these were pur-
chased by Townley at the Duke's sale"'''. A near rela-
tion of his, Lord Vere, possessed a few sculptures at
Hanworth"*, and LoRD Bateman had a Hermes at
Shobden on which a particularly high value was set by
Townley*'. Brownlow North, Bishop of Winchester,
decorated the episcopal residence at Chelsea w^ith all kinds
of antiquities, which he had collected in the year 1791 in
Italy"*". Finally Dr Adair was at Baiae in AT). 1771 just
when a couple of bearded heads of Dionysos were found ;
these he bought, and parted with at a later date to Townley""'.

60. High above all these collections of the second and !-or,i
third rank stands the magnificent museum formed in the fturne.

-'«'- See Cat., art. Knole. PI. 2, 5 ; 9, 3 ; x. r. Ellis, Townley

^ See Cat., art. Boynlon. CalUrv, n. ji. 64 ; Spec. Ant. Sculpt.,

»" Stnuf, A Description of the I. PI. 31.

Houseand Gardens of George-Grenville- ""■> Dallaway, Anecd., n. 390: "a

Nugent-Temple, Marquis of Buck- few marbles, sold in 179S.

ingham. Buckingham, 1797, 4to. -'■" See Shobden.

H. R. Forster, The Stcnue Catalogue, '-'"* Faulkener, History of Cliclsea,

London, 1848, p. 47, nos. 726, 738, I. p. 293.

739. 745- Dallaway, Anecd., p. 383. -'» Anc. Marbles Brit. Mus., \i.

=«» Anc. Marbles Brit. Mus., v. PI.

I04 a>'cif:n"1' marbles in great Britain. [6o

(^«y- last decade of the century by WiLLiAM, SECOND Earl of
Shelburne, afterwards FIRST Marquis of Lansdowne
(a. D. 1737 — 1805)^'". Though deeply involved in the
pohtics of his time, Lord Shelburne showed the liveliest
interest in nature, art, and science. He gave proofs of
this by his gardens at Bowood, the building of Shel-
burne House, his art collections, and the founding of his
library. In the year 1771, after the death of his first
wife, and in a breatliing-space in his public activity, he
visited Italy. The fact of his not afterwards joining the
Dilettanti Society is fully explained by the preponderance
of other political parties in that body. At Rome, Lord
Shelburne, who at that time was planning the building
of his new palace, entered into close relations with Gavin
Hamilton, by whom he had a plan sketched for the ar-
rangement and decoration of a sculpture gallery. A small
number of antiques were purchased by him personally,
others were procured for him by Hamilton in the follow-
ing years ; these were partly the choicest specimens from
Hamilton's own excavations, partly the result of purchases
elsewhere. Shelburne had done well to turn to a man of
honour like Hamilton, instead of to Jenkins. Considering
the number of competitors, among whom the Vatican
Museum stood in the first rank, it is surprising to see how
fine a selection of excellent works was brought together.
It is true that the purchases were continued for a long
time, into the last decade of the century, but the majority
of the most remarkable marbles are the result of Hamil-
ton's earlier excavations in the years 1770 — 17S0; c.£: the
so-called Jason, the Hermes, the Amazon, and the Disco-
bolus, which last has been badly disfigured by mistaken
restoration. The Herakles, however, did not come to light
till later. Among the heads there are not a few of con-

S70 EitziTiaurice, Lord Edmond, p. 445. TXc .-JfVTr/i'wy, 187.S, Aug. 10,
Lifeof IV. Earl of Shelburne, \.m\AoTi, 17, 24, 31, Sept. 7. Cf. Cm., .in.
1S75 — 76, particulaily 11. p. 22(1, 111. London, Lansdowne lluu>c.

6o] GOl.UEN ACIK Oi-' CLASSIC DII.KTTANTIS.M. 10$

spiciious merit ; tlic Hermes, with the petasus, has become
a general favourite. Finally, \vc have a few excellent
reliefs. It is instructive to compare this collection with
that of Blundell, which was begun a little later (.\.D. 1778).
While at Ince the crowd of worthless specimens hinders
and impairs the enjoyment of what is really good, the
collection at Lansdowne House bears a truly aristocratic
character. The value of the collection, however, is appre-
ciably raised by the tasteful manner in which Lord Lans-
downe applied it to the decoration of his new-built palace.
No bare sculpture gallery was erected for them, in which
the chilliness of the marbles one beside the other is often
apt to have a chilling eftect on the visitor ; but, as is also
the case at Holkham Hall, the stately reception rooms
were throughout prepared to accommodate them, and the
works produced for decoration were once more introduced
into the midst of life. On his first entry, the hall and the
staircase gave the right tone of feeling to the visitor. In
the dining-hall and breakfast-room a number of niches
were adorned with smaller but by no means insignificant
.statues. The library, at that time still the shelter of those
manuscript treasures which later found their way to the
British Museum, added to these possessions the appro-
priate decoration of a row of portraits and other busts;
and received its crowning ornament in the ' Jason.'
Finally, there is true magnificence in the impression pro-
duced by the great ball-room, with its two semi-circular
ends, in which there are spacious niches containing the
finest treasures of the collection ; between the niches, as in
the Rotunda of the Vatican, either a lovely head, or a
statuette, on pillar-pedestals. Smaller groups, reliefs, an
excellent bust of Athene, etc. are distributed in the middle
of the room. With perfect right we may designate the
whole arrangement, the rooms and their decorations, as
one of the most distinguished and tasteful creations of
the kind, which in England at any rate can scarcely find

Hopi

I06 AN'CIENT MARBLES IN GREAT BRITAIN. [6o, 6l

its peer. One likes to imagine moving about these rooms
that choice society which the refined owner well knew how
to collect about him, finding in their animated discussions
some compensation for the numerous annoyances of his
political career.
Thomas 6i. A similar fine taste for art regulated the activity

in collecting displayed by THOMAS HoPE, a member of the
rich family of bankers, who had returned to his English
home and people from Amsterdam. He made a collection
in the last ten years of the eighteenth century; two of the
principal specimens of his collection, the great Athena, for
a long time wrongly considered a copy of the Parthcnos of
Phidias, and the beautiful Hygieia were only dug up in
A.D. 1797 at Ostia by Fagan"'. The collection of Greek
vases, which came from Sir William Hamilton, formed a
very distinctive part of his art treasures. Though Hamilton
had some time before sold a first collection to the British
Museum, excavations undertaken in a.d. 1789 and 1790
and other purchases had supplied him afresh with abun-
dance of material for a second. In the year 1798 he sent
the whole to England, with a view of selling it there, after
an attempt to dispose of it at Berlin for seven thousand
pounds had fallen through. Eight chests, a third part of
the freight, were lost by shipwreck ; the rest was pur-
chased in the year 1801 by Hope, and served him as
the foundation of his collection, which he still further
increased from various other sources'^". The owner, with
his fine taste for art, now brought his entire mansion in
London (Duchess Street) into the most correct accord
with his collections which he could devise. All the rooms
and all their contents, down to the humblest utensil or

'-"' See Deepdene. Cf. Gcnll. by Hamilton, Prince Italinsky,

Mag.^ iS.S*) Apr. the Russian ambassador, and Fon-

-''- \V. Tischbein, Collection of tanini. Cf. J. H. W. Tischbein, Aiis

Engravings from Ancient Vases dis- meinem Lcbcn, Brunswick, 1861,

covered 1780 and 1790, noau in the II. pp. 169 — 180. Edwards, Lives of

possession of Sir W.Hamilton. Naples, the Founders of the British Musetim,

1791 — 180J, IV. The letterpress is I- p- 357-

6l, 62] GOLDEN AGE OE CLASSIC DILLTTANTLSM. 10/

piece of furniture, were made after Hope's own drawings
and designs, not uninfluenced by the Pompeian discoveries,
and at the same time in full harmony with the antiqua-
rian tendencies of art in the Napoleonic era"^ The
statue-gallery was bordered on both sides with statues,
the picture-galleries derived an air of life from a few
marbles, and the vases served as the main adornment of
three rooms. In this condition the Hope collection re-
mained during many years in London, much visited and
admired by strangers ; at last it was taken to the mag-
nificent country seat of Deepdene, once the property of the
Howard family. The classical sculptures, intermingled
with masterpieces of Thorwaldsen and Canova, and with
copies of celebrated antiques, there form a magnificent
adornment to the galleried hall and to some other apart-
ments. Of the collection of vases, only a remnant is pre-
served.

62. Throughout almost the entire century, and to a The Rc-vo-

. . . , . . , , . liitioii in

constantly mcreasmg extent durmg its last decennium, Rome and
the importation into England of antique sculptures from 'J,a,"es'
Italy, especially from Rome, was carried on. We ca.nnot Ear! 0/
but marvel at the inexhaustible wealth of the Eternal -"""■
City and her Campagna, when we recollect that besides
the collections formed at Rome itself, Florence, Madrid,
Paris, St Petersburg, Stockholm, England and Germany
have derived thence almost all their antiquities, while
Naples alone, in addition to the Farnese marbles, pos-
sessed a mine of discoveries apart in the buried cities of
her vicinity. Now, in consequence of events of world-wide
interest, a pause occurred in the commerce in antiques at
Rome. Byres had left Rome as early as A.D. 1790; Gavin
Hamilton died there in the year 1797, his death being
ascribed to excitement and anxiety caused by the advance
of the French; Jenkins was actually driven out of Rome

■-'^ Household Furnilure and in- by Thomas Hope. London, 1807,
terior decoration executed from designs fol.

I08 ANCIENT MARBLES IN GREAT BRITAIN. [62

by these invaders and died in 1798, just as he landed in
his native country at Yarmouth after a violent storm. He
had concealed a collection of engraved gems on his person,
but all the property he had left behind at Rome was con-
fiscated by the French"". Very curious were the fortunes
of Frederick, fourth Earl of Bristol, Bishop of
Derry (a.D. 1730 — 1803). Having been settled at Rome
for a long time, he had eagerly collected statues and paint-
ings, chiefly modern, but also including several antiques, in
the hope of adorning therewith the castle which he intended
to have built at Ickworth. "In 1798 he was arrested by
the French, and confined for a time in the Castle of Milan;
and his valuable collection fell into the hands of the RejDub-
licans. On this occasion a remonstrance was presented to
Citizen Haller, administrator of the finances of the army
of Italy, signed by three hundred and forty-three artists of
various nations, in favour of the restoration of the collection
to their munificent patron. It was redeemed for the sum
of ten thousand pounds, under an arrangement with the
Directory — and within a week after the payment of the
money, the collection was again plundered, and the whole
dispersed"'"!" To what purpose could the British Earl-
Bishop complain of such treatment, when even the Villa
Albani and the papal collections fared hardly better ; when
churches and palaces were plundered without mercy; and
when an undisciplined soldiery despoiled the private apart-
ments of the Pope himself after he had been led off to
France ? Even these events resulted in profit to English
collectors. On one occasion, for instance, the Roman agent
of an English merchant purchased from a Frenchman not
fewer than forty-five chests full of marbles, tables, and so
on, the product of such booty. On its voyage to England
the vessel was four times captured and four times rescued

'^^ Ellis, Tcaoitlcy Gallery, I. p. 5. London, 183S, p. 301. Gcntlcnians
""'' J. Gage, History and Antiqui- Magazine, May, 1798, vol. i.xviir. i,
ties of Suffolk. T/tiiigoe JIttndrcd, p. 434.

62, 6}] GOLDKX AGE OF CLASSIC DILETTANTISM. 1 09

again before safely reaching Liverpool. Thence its freight
had first of all to be reshipped to London in order to find
purchasers. It has already been mentioned that on this
occasion Blundcll bought again, for two hundred and sixty
guineas, a relief which he had purchased at Rome for less
than ten pounds and then presented to the Pope"'", and
which is one of the most remarkable of his collection. We
may well feel surprised that in such restless times Fagan
still had courage to undertake excavations at Ostia, and
that Hope and another customer of Pagan's, Prince Augus-
tus Frederick, found means to secure the safety of his
acquisitions'". This state of things was not to last long;
in the year iSoi, to repeat the expression employed
at Rome, " an end was put to the abuse and disorder
of commercial profit in such excavations, and a new papal
epoch set in"'." In other words there set in an epoch
of complete stagnation, which lasted as long as the wars of
Napoleon held all Europe in suspense. In regard to the
antiquarian relations between England and Rome, a pause
like this, when the former agents for the trade in antiques
disappeared from the scene, and Rome could be no com-
fortable residence for the travelling Englishman, served as
a complete break with tradition. —

6^. The same was the case at Naples. Ever since U^ilHam
A..D. 1764 the post of English ambassador had been filled a w'ij/
by Mr, afterwards Sir William Hamilton (1730 — ^^03),-^^^/^^^.^
who formed the centre of an unusually eager intellectual
society, in which Hancarville, who like Hamilton has been
already mentioned, played an important part"". Hamilton
had two governing passions, the collection of antiques and
the study of natural science. The gratification of the first
was attended with no small difficulty owing to the jealousy

''^^ Ince, no. 221. '"' C. Fea., Via^oadOsii'a, Rome,

"^ He bought a statue of Venus 1802, p. 57.
which King William IV., a.d. 1834, -''''' Justi, IVinckebnann, 11. 2 pp.

presented to the British Museum 381 — 397. Edwards, Lives of the

{Anc. Marbles Brit. Miis., XI. PI. Founders of the British Museum, I.

34); see Urlichs, Clyptolhek, p. 30. pp. 347 — 361.

I lO AN'CIEN'T MARBLES IN GREAT BRITAIN. [6^

of the Bourbon Government. Luckily for him, however,
the interest of the King was so fully engrossed by the
excavations at Herculancum, that he looked with disdain
on all other varieties of antique art, except paintings and
bronzes. A large field was therefore left open to the
energies of Hamilton, who bought collections small and
great, and privately instituted excavations on his own
account. He was particularly interested in the painted
vases that were then still commonly called Etruscan, al-
though their Greek origin was getting to be more and
more recognised, and was distinctly proclaimed by Mazocchi,
Winckelmann, and Hancarville. Hamilton was not the first
nor the only Briton who collected vases ; some time earlier
we find the names of Frederick and Thoms mentioned
as those of possessors of vases, and LORD Cawdor col-
lected as well as Hamilton'""'. But to Hamilton belongs
the merit of being the first to appreciate with warmth the
severe beauty of their shapes, colouring and drawing, the
mingled simplicity and feeling of the designs figured upon
them ; and it was he who recognised the value of these
unpretentious vessels for forming and ennobling modern
art-taste. The magnificent /ditto ;i rtV/^/.i'^, for which Hamilton
paid no less than forty thousand ducats (six thousand
pounds), was particularly calculated to exhibit the impor-
tance of the vases in this respect. Hancarville's abstruse
text at any rate rightly emphasized the worth of these
simple materials for the history of the forgotten art of
Greek painting; nor did it at that time exercise a pre-
judicial effect, since it fell in with prevalent views on
mythology''". However, Hamilton did not limit himself
to vases. Of these he had brought together seven hun-
dred and thirty ; but his collection further contained one
hundred and seventy-five terra cottas, three hundred pieces

-*• Passeri, Picliint Etniscontm ei Romaines tirles du cabinet de Mr

invasculis, 1767, PI. 44, 45, 47, 158. Hamilton h Naples, Naples, 1766,

Cf. above, note 248. 1 767, iv. fol.

'*' Antii/uitcs Etrusques Grccques

6i, 64] GOLDEN AGE OF CLASSIC DILETTANTISM. I I I

of glass, six hundred and twcnty-scvcn bronzes, chiefly
armour, one hundred and fifty objects in ivory, one liun-
dred and fifty gems, as many gold articles of jewellery,
more than six thousand coins, particularly of Magna
Grajcia, and lastly miscellaneous articles of various kinds
including some few marbles. All these treasures Hamilton
brought to England A.D. 1772, after a residence of eight
years in Naples, and sold to the British IMuseum for
;^8,400. This event was noteworthy for its result in two
directions. The purchase was the first considerable ad-
dition made by public money to the Museum since its
foundation, and formed the groundwork of a Department
of Antiquities. At the same time it is well known how
great an influence Hamilton's publication, and especially
the originals, exercised on Josiah Wedgewood's manufac-
ture. In an incredibly short time his imitations met with
wide-spread favour, and contributed very materially to
making the ' Greek,' ' Etruscan ' or as they were some-
times even called ' Pompeian ' vases popular.

64. In the year 1777 Sir William Hamilton joined the A> W'-

T^.< ■ ,-• ■ ^-^ 1 • r 1 • • 1 llamilloii's

Dilettanti Society. On the occasion of a second visit home seiond
(a.D. 1785) he resigned the celebrated glass vase from the '^'"''''''^''""'•
Barberini Palace, with white reliefs on a blue ground, to
the widowed DucHESS OK Portland, daughter of the
Earl of Oxford, mentioned above. This lady died soon
after. Her possessions were sold by auction (a.d. 1786) and
the vase, numbered 4155 in the complete cabinet, was
bought in by the family after the bidding had gone up to
one thousand and twenty-nine pounds; since A.D. 1810 it
has been deposited in the British Museum under the name
of the ' Portland vase ' and has there been accessible to
the public, not, as is well known, without serious detri-
ment to its integrity^'l Yet another specimen, the most

-'- Walpole to Lady Ossory, 1785, deceased: which will be sold by Mr

Aug. 10. A Catalogue of the I'orl- Skinner and Co. on the -i^th 0/ April,

land Museum, lately the properly of i-fif), and the -yi follo-.uing days. The

the Duchess Dowager of Portland, antiques come last on the list (June 7) ;

112 ANCIENT MARBLES IN GREAT BRITAIN. [64

important of its kind, came to England through the agency
of Sir William Hamilton, viz. the huge marble vase,
discovered in the year 1769 by Gavin Hamilton and pre-
sented by the purchaser to the Earl of Warwick, from
whom it took its usual name^'^ Sir William had in the
main renounced further collecting. It was therefore unwise
of him to return to Naples, for how could so enthusiastic a
collector resist the numerous opportunities of returning to
his ancient passion.' It is a fact that in the year 1787
Goethe found Hamilton's private art-vaults, to which it
was difficult to get access, quite filled with busts, torsos,
vases and bronzes ; there were also two splendid bronze
candelabra, which " might have perhaps strayed from the
Pompeian excavation, and have lost themselves here^'''."
Tischbein tells us that engraved gems were also not want-
ing, and he describes vividly how new discoveries of vases
completely overcame Hamilton's resolutions and soon made
him once more an eager purchaser. Tischbein once saw
him coming from Court, in full court dress, with stars and
orders, carrying a basket full of vases ; a ragged lazarone
held one handle of the basket and the English Minister the
other. — (A similar story is told of Cardinal Albani "*''.)
Thus a second collection was formed, which was engraved
by Tischbein and of which we have already recorded the
fate above"'"''. Though larger and more important than
the first, it was less fortunate, as it had not the protection
of a public museum, but was exposed to the vicissitudes
of private ownership. At the present day we know the
whereabouts of but ver}- few of these vases. When they
were sent to England (A.n. 179S), the Republic was already
knocking at the door of the decayed Bourbon Kingdom.
At the close of the \-ear Hamilton fled with the roval

the purchase of the vase was alleged to May 27.

have been made for the Duke of Marl- -*° J. H. W. Tischbein, .4ns

borough. tneiitem Lebcii, Brunswicl<, 1861, 11.

283 See Cat., art. Warwick Castle. pp. 100 — 10", 169 — iHo.

'^ Goeihe, ila!ienisc/ie Hfise, 1787, "*" Cf. above, § 61.

64,65] GOLDEN AGE OF CLASSIC nILETTANTIS^r. 113

familj' to Palermo. He returned once more to his beloved
Naples to leave her again for ever in A. U. iSoo, a sick,
broken-down old man. The commerce in antiquities be-
tween England and Naples was interrupted for a long
time after this ; French rule at Naples making such rela-
tions quite impossible.

65. In comparison- with Italy in the last century, j?c'/ations
Greece, at least with regard to the trade in antiques, hung ^cmce.
far behind. There are however many scattered traces
to show that the English who lived in Greece — merchants,
ecclesiastics, physicians — had genuine feeling for the past
history of their adopted home, and neglected no oppor-
tunity for collecting antiquities. The first successful un-
dertaking, the search for the desert city of Palmyra, was
entered on by English merchants from Aleppo in the year
1691. Collections of coins were made at the beginning of
the eighteenth century by British merchants and clergy in
the same place, with such zeal that the prices within a few
years rose to exorbitant amounts^. A physician and a
clergyman of the British merchant colony in Constanti-
nople provided Dr Mead with antiquities about A. D. 1730'*',
and in A. D. 1779 Dr SwiNNEV, the resident clergyman in
that city, sent to England the splendid bronze statuette of
Herakles found in Syria, which soon afterwards came into
Townley's possession^"". Smyrna in particular appears
once more, as in Petty 's time, to have been a fruitful mine
of discoveries. Winckelmann mentions an English phy-
sician who in A.D. 1763 obtained permission to make
excavations there, and another Englishman who received
two ships full of statues, eight of which were in perfect
condition and which he sent home together with some

"" Relation of a Voyage to Tadmor, cf. Michaelis in //« luiioi Reich, 1876,

Sept. 29, i6qi. Seller, Antiquities I. pp. 990 — 994.
of Palmyra, London, 1696. For the -** Ellis, Tcnunley Gallery, 11. p.

trade in coins see the letters for the 303 ; Corp. Inscr. Grtsc. i'lgy.
years A.D. 1696 — 1708 in the Ms. '^' Ane. Marbles Brit. Miis., III.

Cuper., no. r fol. 19, 64, 77, 8t, 82, PI. 2.
97, 99, 114 (Archives at the Hague);

M. C. 8

114 ANCIENT MARBLES IN GREAT BRITAIN. [65

busts''™. From Smyrna also were the reliefs which Matthew
Duane and Thomas Tyrwhitt bought at a sale in London
A.D. 1772, and presented to the British Museum'"". Our
interest is, however, less warmly awakened by the isolated
British residents in the East than by the travellers.
These could no longer rest contented with Italy, but
sought also the Levant. In A.D. 1725 Mr Topham
brought to London a relief from Attica, which reached the
British Museum more than half a century later"'^ ; and
towards the middle of the century the learned Greek
scholar and physician, Dr ANTHONY A.SKEW, brought
some marbles home with him from Athens, for example
the beautiful sepulchral monument of Xanthippos, which
was acquired by Townley at his sale in a.d. I775^''^ About
the same time Lady Bute, daughter of the well-known Lady
Mary Wortley Montagu, handed over to Trinity College,
Cambridge, a small number of Greek marbles, which her
father, the Honourable Edward Wortley Montagu, had
brought home in A.D. 1718 from his embassy at the Porte'''*..
As early as a.d. 1744 the Dilettanti were in possession of a
fragment of the Parthenon frieze, probably presented by
one of the members, just as one subsequently came to
Smith-Barry ; another was in the possession of the Duke
of Devonshire. How many similar souvenirs de voyage
may still be scattered here and there "°! The Dilettanti
soon appear in the foreground among the travellers to
Greece and to the East. One of the first was James,
Viscount, afterwards Earl of Charlemont, who since
A.D. 1749 had visited Sicily, Greece, Asia Minor, and

"'"' WinckelmanntoBianconi, 1763, College.
Apr. 30 (Fea, Storia, III. p. 259). ""^ The fragments belonged to the

-^' Ellis, Icnonley Gallery, II. p. north friezes, slabs xxxv. and xxxil.,

160 — 165. and to the south metopes, no. XVI. See

-"- Anc. Marbles Brit. Mus. II. Michaelis, Dcr Parthenon, Leipzig,

PI. 41. 1 87 1, pp. 249, 250. Newton, in l^he

^"'^ Ellis, Tmimley Gallery, 11. p. Academy, 1875, Oct. 2, p. 365. A

29, 107, 300. Askew was in Greece fragment in the Hope collection does

about the year 1748. not belong to the Parthenon. See

^^'SeeCat., art. Cambridge, Trinity Cat., art. Deepdene, no. 14.

65,66] GOLDEN ACE OF CLASSIC DILETTANTISM. 1 15

Egypt in company with Mr Francis Pierpont Burton (after-
wards Lord Conyngham), Mr Scott, Mr Murphj-, and the
artist Richard Dalton, who has perpetuated some of the
Icnowledgc gained during this journey in several instructive
engravings ; here, for example, we find the first serviceable
views of the Parthenon and the Erechtheion'^. In the
following year two pairs of travellers met in Athens; on
the one hand James Stuart and Nicholas Revett, who had
just begun there that undertaking by which they opened a
new epoch in antiquarian studies, and on the other James
Dawkins and Robert Wood, who were starting thence on
their hardly less celebrated expedition to Palmyra. This
is not the place to speak of the scientific results of these
two undertakings ; what they brought back in the way of
antiques does not appear to have been of great importance.
Dawkins' small collection was presented after his death
(A.D. 1759) by his brother Henry to the Oxford Univer-
sity'°'. From the journey of Chandler, Revett and Pars
(.•^.D. 1764 — 1766), undertaken at the cost of the Dilettanti
Society, and in accordance with Wood's instructions, re-
sulted as the most valuable fruit the Ionian Antiquities.
These travellers apparently brought no originals to England
except inscriptions, which the Society consigned in the
year 17S5 to the British Museum^'.

66. The first British traveller who brought home rich .S/>
booty from Greece itself was SiR RiCHARD WoRSLEV 'iyilZfy
(A.D. 1751 — 1805)"™ I-'or some time British resident at
Venice he started A.D. 1785 for Greece, where he re-
mained till A.D. 1787, part of the time at Athens and
part on the islands and coasts of Asia Minor. He spared
no expense in making a splendid collection. In it the

™* H.ircly, Memoirs of the Earl sia, p. V.
of Charlemont,^. 11, 19 ff. Dalton, -'™ [W. R. Hamilton], Historical

A series of Engravings, i^e., London, Notices of the Society of Dilettanti,

1751 — 52. Antiquities and Views, London, iSjs, p. 41.
&'€., London, 1791. s"" See Brocklesby. D.illaway, Of

'■"" Chandler, Marmora Oxonien- Statuary, p. 350.

8—2

Il6 ANCIENT MARBLES IN GREAT BRITAIN. [66

Greek reliefs, or fragments of reliefs, take the first place.
Such a work as the Girl with the Doves from Paros'°°, by
dint of its charming tiaivctc, constitutes one of the most
attractive creations of Greek art which remain to us ; this
single specimen is worth a whole museum-full of Roman
works turned out by the gross. When Worsley proceeded
from Greece to Rome, he availed himself here also of the
opportunity of enriching his collection ; we may name as
a work of peculiar charm a group of Dionysos with Eros.
The busts and gems which he acquired were less important.
The last he bought of Sir William Hamilton"". At the
same time Worsley caused to be engraved at Rome some
of the plates which he intended for the magnificent pub-
lication of his museum. For the most valuable portion of
the explanations that were to go with the plates he was
indebted to the friendship and kindness of Ennio Quirino
Visconti. When he had returned to his home in the Isle
of Wight, Sir Richard arranged his beloved specimens at
his beautifully-situated country house of Appuldurcombe,
and then devoted his leisure to the publication of the work
in question''"^ Its production did not cost less than three
thousand pounds. The result was a work which, in outward
splendour, can vie with any hitherto published. One cannot,
however, help feeling that, as in the Marlborough Gems,
the engraved fragments are occasionally, as it were, lost
in the wide surface of the white paper. As containing
works chiefly of Greek art, the Museum Worslcianum must
take a place of honour, among the publications of the

** Brocklesby, no. 17. 150 copies were distributed. In the

^"' Visconti, AIus. Pio Chin. vi. year 1824 a new edition of 250 copies

PI. 7, n. 1. was prepared from the original copper-

*** Museum Worslcianum, II. fol. plates. The subsequent destruction

Both volumes exhibit the date 1794. of these was stipulated for by Lord

It is however to be gathered from the Yarborough with the publisher. See

preface to the second volume that Bottiger's Amalthea, III. p. 393,

the first was not publislied before the where the sums given above are

year 1798, the second several years stated. Dibdin, Bibliomania, p. 712,

later. Tliis explains Dallaway's state- and Savage, Librarian I., are cited as

ment that upon Worslcy's death, a.d. putting the figure at jf27,ooo.
1805, not more than 27 out of the

66,67] GOLDEN AGE OF CLASSIC niLETTANTISM. II7

last century, beside the Antiquities ofAt/icns and the Ionian
Antiquities; though it cannot be denied that at the present
day, when so many other remains of genuine Greek sculp-
ture have become known to us, these fragments, with the
exception of a few specimens, have lost some of their im-
portance : but even in the British Museum the above-men-
tioned Girl with Doves would hold its own. At any rate
the Worsley marbles do not deserve to be left to ruin in a
damp summer-house : a fate which now threatens them
since they have been removed from Appuldurcombc to
Brocklesby Park and there incorporated with Lord Yar-
borough's sculptures.

6j. Amongst the number, by no means small, of British Morntt,
travellers who visited the Greek coasts during the last A/>erdeen^
twenty years of the eighteenth and in the first few of the y^/'j,;^
present century, the following names also deserve special/'^''''
mention in this place. J. B. S. MoRRiTT, who travelled
there in the years A.D. 1795 and 1796. Besides keeping
his eyes open for the solution of difficult questions (such
as the position of Troy), he indulged an interest in trans-
portable remains of antiquity. His booty certainly does
not appear to have been great, if we may draw any infer-
ence from the present contents of the collection in Rokeby
Hall. One of the principal specimens, a bronze helmet from
Olympia, with an archaic inscription, was given up by Mor-
ritt to Payne Knight. Morritt's efforts were frequently
thwarted by the opposition of the Turkish magistrates,
both in Athens, where he wished to get one or two slabs
of the friezes and a metope from the Parthenon, and in
Kphesus and Amyklae*". At the latter place a better
fortune attended the efforts of the higlily-cultivated young

"" See Rokeby. Morritt, Obser- Travels in the East, London, 1820,

•vations on a Dissertation liy J. Bryatily p. 588). Report from the Elgin Com-

1795; a vindication of Homer, &'c. >«(«i'<r, London, 1816, p. 130. Morritt

179S. \<]3.\T^o\e's, Memoirs relating to belonged to the Dilettanti Society

Turkey, London, 1818, p. 33, ,167. from the year 1799.
Corp. Inscr. Cnec. 29 (Walpole,

Il8 ANCIENT MARBLES IN GREAT BRITAIN. [6/

George, fourth Earl of Aberdeen {d. a.d. i860), who
was travelling in Greece in the year 1803. He there suc-
ceeded in obtaining a few very remarkable reliefs, which
place before our eyes in the minutest detail the parapher-
nalia of a feminine toilet. To these were added sepulchral
reliefs from Attica and perhaps some other specimens.
Since A.D. 1861 the collection has been in the British
Museum as a present from the son and heir of the collec-
tor™*. Only two bronzes, which came from Paramythi'a,
were given by Lord Aberdeen to Payne Knight'"'^ Of
more importance were the marbles which Dr E. D. Clarke
(a.d. 1769 — 1822), Fellow of Jesus College, Cambridge,
brought home from his extensive travels in the Levant
(A.D. 1801 — 2), although all the rest stand far behind the
colossal fragment of the Kistophors from Eleusis, in which
the owner, with pardonable enthusiasm, was willing to re-
cognise the goddess of the mystic sanctuary herself. The
embarkation of the enormous block caused difficulties
enough ; next, the ship containing it sank in the neigh-
bourhood of Beachy Head ; but a successful effort was
made to recover the precious freight. The whole collection
was presented by Clarke to Cambridge University, and for
many years formed thq. ornament of the vestibule of
the Public Library"'*. This example of liberality immedi-
ately found an imitator in Robert Walpole, an alumnus
of Trinity College, who on his return in the year 1808 from
his long travels in Greece and Asia Minor, presented the
few specimens he had brought with him to the University.
Other Cambridge scholars followed suit'"'. The most for-
tunate among these travellers was the naturalist JOHN
Hawkins, resident for a long time at Zante, whence he

'"' Walpole's jl/rt«««, p. 452. Cambr. i8og. Otter, Lifi aitJ Re-

'™ Sficc. All/. Sculpt. II. p. Ixvi. mainsof E. D. Clarke, London, 1824,

^"^ Clarke, Travels in various ch. VI.

countries of Europe, Asia and Africa, ^"^ See Cat., art. Cambridge, Fitz-

II. sect. i. — iii. London, 1812 — 1816. william Museum.

Greek marbles, b'c. in Cambridge,

67,68] GOLDEN AGE OK CLASSIC DILETTANTISM. II9

undertook several journeys of various extent through
Greece, without being an actual collector of antiquities.
He paid two visits to Jannina, at that time the residence of
the dreaded Ali Pasha; on the first occasion (A.D. 1795) an
excellent bronze statuette of Hermes was presented to
him; on the second (A.D. 1798) he bought a bronze relief
of singular beauty, representing the visit of Aphrodite to
Anchises. Both specimens came from a place in the
neighbourhood named Paramy thia ^ ".

68. The small Hermes in question, like Lord Aberdeen's Payne

. , , , Kni!;ht as

two bronzes, was only the remains of a larger nnd which had 3 collector.
been made in Paramythi'a about two years before, and the •t"'-'/

•^ , . , Northwick.

greater part of which, if we except those specimens that
had been put in the smelting furnaces of a bronze-founder
at Jannina, had found its way to Russia and thence after-
wards to England. The fortunate purchaser was RICHARD
Payne Knight (a.d. 1749 — 1824), one of the most influ-
ential connoisseurs of the time'"". When he was only a
youth of seventeen, he had visited Italy and spent many
years there ; he was there again in the year 1777, and with
Charles Gore and the landscape painter Philip Hackcrt
made a journey to Sicily. He kept a diary of this
visit, which has been made public by Goethe^'". In the
year 1781 he joined the Dilettanti Society and met Han-
carville when on his visit toTownlcy (a.d. 1784); on which
occasion that ingenious professor of the fantastic seems to
have bewitched him. The following year again found him
travelling southwards, and in A.D. 1785 he laid the founda-
tion of his collection with a bronze head which he bought
of Jenkins^". In opposition to Aristotle, who reckons mag-
nitude an essential characteristic of beauty, Payne Knight

*<* Hawkins in Walpole's T'raw/j, Museum, I. p. 401 — 41 j.
pp. 481, 482. Spec. Am. Sculpt. II. '"' Goethe, Philipp Ilackert (Wet--

\'\. 10, 11. See Bignor. He was a ^t', x.xxvii. 1830. pp. 146— 218, where

fellow of the Society of Dilettanti from he is erroneously called Henry, cf.

the vear 1799. PP- V^o — 324)-

*» Bottiger, Amalthea, in. Leip- *" Spec. Ant. Sculpt. I. PI. ^o,

zig, 1825, pp. 408 — 418. Edwards, ^t.
Lives of the Founders of the British

120 ANCIENT MARBLliS IN GREAT BRITAIN. [6S

held that magnitude and beauty cannot be united, and
he only took deh'ght in the smaller productions of antique
art. Hence his preference for bronzes and coins, which
he was able to indulge during a long stay at Naples in
company with Sir William Hamilton. It is well known
that the coins of Magna Graecia and Sicily surpass all other
antique coins in the beauty of the dies from which they
have been struck. Here therefore Payne Knight found a
wide field for his particular taste, and he succeeded in
forming a cabinet of Greek coins that was quite un-
equalled. In this field he soon found a rival in SiR
John Rushout, afterwards second LORD NORTHWICK.
During the last ten years of the century the latter
made his wonderful collection of silver coins, to which only
the choicest specimens, true gems of their kind, gained ad-
mittance"^ In Payne Knight's collection the eye is particu-
larly attracted by the small bronzes, even more than by the
coins, and these the possessor liked to designate his "jewels
in bronze." In this respect his cabinet far surpassed any
other ; his friend Townley, for instance, had only a very
few bronzes. This superiority was due to Payne Knight's
refined taste in combination with good luck in collecting.
One specimen of the bronze treasure from Paramythi'a had
come to England through the hands of a Greek dragoman,
and knowledge of this reached Payne Knight. Not con-
tent with buying this specimen, he sent an agent to Russia
to hunt up the rest, and the agent succeeded in finding
nine or ten pieces which had come into the hands of a
Herr von Wiessiolowski and the Count Golovkin ; two
more of the scattered specimens were presented to him, as
we have said, by Lord Aberdeen'". His plans were more-
over furthered by the circumstances of the time. The

^'- Noehden, G. H., Sdect ancient '" Heyne, in Goettinger gelehrtc

coins,chiefly from Magna Graecia and Anzeigen, 1800, pp. 1801 — 1805.

Sicily, from the cabinet of Lord North- Koehler, Gcsammclte Schriften, vi. p.

luick. London, 1824. (250 copies 31 — 38. Specimens Ant. Sculpt. II.

only.) p. Ixv. Cf. Stephani, Apollon Boi-

68,69] GOLDEN AGE OF CLASSIC niLETTAXTISNr. 12 1

Hermes with the golden necklace, which had been disco-
vered sixty years before not far from Lyons, passed through
the hands of three French owners in succession, and at
last came into the possession of Payne Knight in the year
of terror A.D. 1792"*. For another specimen, a Bacchic
mask, he was indebted to the dissolution of the Jesuit
College in Lyons"\ A considerable part of the collec-
tion came from the Due de Chaulnes, who died at the
commencement of the Revolution, and who is known by his
Eg)-ptian travels (A.D. 1765), and his researches In natural
history"'". Thus many specimens in Knight's cabinet
had their own pedigree. Auctions and dealers, friends
and correspondents on the continent, were eagerly laid
under contribution. In comparison with the statuettes,
bronze heads and masks, and coins and medals, the
gems and the few marble heads of this collection received
little consideration. At Payne Knight's death the value
of the whole was estimated at from ;6^5 0,000 to i^6o,ooo.
That it was all bequeathed to the British Museum is well
known.

69. The more unreservedly we recognise Payne Knight's payne
skill and taste in collecting, without necessarily sharing his ^"'ifia-a-''
indifference to larger marble works, — the higher we are '""'■ ^''

... ''Speci-

bound to estimate the result of his zeal, inasmuch as it ran mem of
in a line far removed from the path chosen by the majority sadpLrer
of contemporary dilettanti, — the more unconditionally we
praise his liberality, — the greater all the while must be our
reserves in connection with his literary activity. He made
his d3nt as an author with an article on the God of
Lampsakos"", which deserves blame far less on account of

dromios, Petersb. i860, pp. 6, 44 — »" An account of the remains of

Bronzes of Paramythi'a in Spec. Ant. the worship of Priaptis lately existing

Sculpt. I. PI. 32, 43, 44, 52, 53, 63. in Isernia ; to which is added a dis-

II. PI. 12, 23, 24. course on the worship of Priaptis and

"■• Spec. Ant. Sculpt. 1. PI. 33, its connexion with the mystic theology

34. Caylus, Vi'cc»/c;V VII. p. 268. of i/ie ancients, lySCt, ^to. The copies

"» Spec. Ant. Sculpt, n. PL 35. of this work in the market were aftcr-

'" Dallaway, Of Statuary, p. 356. wards bought in by the author.

Spec. Anl. Sculpt. I. PL 18, 19.

122 ANCIENT MARBLES IN GREAT BRITAIN. [69

the offensiveness of its subject than for its unsound, un-
methodical, mythological fantasies after the manner of
Hancarville. But at that time, when treatment such as
this was in vogue, it was the first-named characteristic
that called forth especial reprobation. A further publica-
tion^" introduced Payne Knight to the public as a didactic
poet of considerable tediousness. The work which followed
this'" shelved him to be a despiser of Christianity and an
enthusiastic follower of the doctrines of Lucretius. One
would have thought that a treatise held to be indecent, an
anti-Christian book, and a tedious poem, would have suf-
ficed to banish the author from good society in England.
By no means ! As a connoisseur Payne Knight enjoyed
a respect so immoveably firm, as an oracle in matters of art
he was considered altogether so infallible, that all his lite-
rary sins were forgotten. His treatise on taste™ was re-
garded as laying down the canon, and he who would have
ventured to raise a doubt about him would have had to
atone bitterly for such sacrilege. His influence extended
particularly over the Society of Dilettanti, in which he and
Townley gave the tone in all questions of antique art. It
was these two who, immediately after the completion of
the second volume of Ionian Antiquities (a.d. 1797), pro-
posed to the Society to publish in a magnificent volume the
most interesting and most beautiful specimens of ancient
sculpture to be found in P2nglish collections. The Society
accepted the proposal, and the diiiimviri were entrusted
with the selection ; Townley having the decision in the
matter of marbles. That the collections of the editors them-
selves received the most notice, twenty-three specimens
being selected for publication from each, was not only
natural, but justified by the intrinsic importance of the
selected pieces. Among other collections that of Petworth

''' Landscape, a didactic poem, i'i)^< 4to.
2794. ^-^ Aiialyiical enquiry into the

^'' The progress of civil society, Principles of Taste, 1805.

69, /O] GOLDEN AGE OF CLASSIC DILETTANTISM. 1 23

liad the hiinour of contributing nine examples; that of the-
Marquis of Lansdownc four; that of Mr Hope two; those
of Lord Yarborough and the Earl of Upper Ossory one
each. Many collections were not represented at all, be-
cause a plan was speedily formed of producing a second
volume. The sixty -three monuments published in the
first volume were engraved on seventy- five plates at a
cost of ;^2,300; they arc most of them executed in a
masterly way, so that the book is really a model publi-
cation, and quite worthy of the Society'"'. The text
was written by Payne Knight. In his description of the
statues and judgment of their style, in his information as
to their origin, restorations, &c., he observes throughout
an appropriate precision and brevity ; digressions into
critical territory occur seldom, although there are many
explanations which read both singular and entertaining at
the present day. The exhaustive introduction gives us,
like Winckelmann's introduction to his Monunicnti Inediti,
a glance over the development of ancient art. Though
much in it is questionable, or even quite wrong, this intro-
duction belongs nevertheless to the best of Payne Knight's
writing. All things considered, the first volume of Speci-
mens of Antient Sculpture in Great Britain, which appeared
in the year 1809, and had been ten years in preparation,
forms a brilliant conclusion to the century of antique dilet-
tantism in England.

70. There is yet one memorial, of a more modest kind, y. Dalta-
which dates from this time. As at the commencement of '"'^■'''
the epoch of dilettantism the book of the two Richardsons
had served to introduce Englishmen on their travels to the
art treasures of Italy, so at the close of the epoch the same
service with regard to English collections might naturally

''1 specimens of Antimt Sculpture, engraving of the plates occupied from

selected from several coUeclions in Great a.d. 179910 1807; as they were sold

Britain, by the Society of Dilettanti, to the publishers Thomas Payne and

Vol. I. London, 1809, fol. Cf. [W. White and Cochrane, the actual piib-

'^.\{3m\\\.oVi'\ Historical Notices of the lication only cost £111.2, lax which

Society of Dilettanti, \>p. a — 56. The the Society secured 60 copies.

124 ANCIENT MARBLES IN GREAT BRITAIN. [jO

be welcomed both by natives and foreigners. This task
was undertaken by James Dallaway, a man who, having
been educated at Oxford and then resided for a long
period in Italy and Constantinople, finally became secre-
tary to the Earl Marshal, and in that capacity devoted his
leisure to literary pursuits. His connection with the Earl
Marshal Charles Duke of Norfolk, a descendant of the
. great Earl of Arundel, drew him towards the history of
the services rendered by Arundel to art collecting in
England; and his old attachment to the University of
Oxford, where the remains of the Arundel collection were
preserved, kept this interest alive. In the year 1800 Dalla-
way published his Anecdotes of the Arts in England, the
middle portion of which treats of sculpture'^^ His purpose
was merely to provide a "cicerone book" for travellers, quem
toUere rhcda possis, and the book does not in fact offer
much more. The notes of the individual collections are
generally nothing more than a bare reprint of the haphazard
nomenclatures which are usually given in collections for the
information of visitors. These have been for the most part
mechanically copied by Dallaway without personal inspec-
tion, without intimate knowledge, and without criticism.
The different collections receive extremely unequal con-
sideration. In the small Palmerston cabinet more speci-
mens are mentioned by name than in the whole throng of
marbles at Ince; the Lansdowne gallery is disposed of
with striking indifference ; Dallaway even says in the year
1 816, though he was then living in London, that "this col-
lection consists principally of torsos and mutilated statues."
The only collections that he treats with any comprehen-
siveness are Townley's and that at Oxford ; here extensive
previous work was at his disposal, in the shape partly of
printed books, partly of Townley's own notes. The informa-

2'^- Anecdotes of the Arts in Oxfoi-J. London, 1800. For our

England, or comparative remarks on object, pp. 11% — .^91 are important.

Architecture, Sculpture, and Painting, Cf. Kraft and Botliger, A. L. Millin,

chiefly illustrated by specimens at Leipzig, 1819, pp. 81 — 84.

70, 7 ij GOLDEN AGE OF CLASSIC DILETTANTLSM. 1 25

tion to be gleaned from Gavin I lamiltons letters to Townley
was particularly valuable. Dallavvay was throughout en-
tirely dependent on the previous wGrks at his disposal. He
follows them without anj- criticism; for which reason it is
essential to analyse his compilation almost into its primi-
tive elements, and it is well never to follow Dallaway
implicitly without satisfying ourselves about his authorities,
or at least about the possibility of authentic information
being in his possession. Dallaway however deserves our
thanks in two particulars. He at least makes an effort to
sketch the history of the introduction of antique statuary in-
to England in chronological order, and thus gives many a
hint how to find the way through the entanglement of
scattered notices; although for a great part of his notes,
particularly those which refer to the seventeenth centurj',
it is better to turn for ourselves to his chief authority, Hor.
Walpole's Anecdotes of Painting. Dallaway's second merit
consists in giving us information about many collections
which have since been lost sight of or dispersed. In the
latter respect the new edition of the section referring to
sculpture, which Dallaway undertook sixteen years later,
is valuable. Some points are here corrected, and not a
little is added''''. After all until quite modern times
Dallaway's book has been the only means of obtaining
information about the private collections of antiques in
England. The interest which it aroused as a guide-book
was sufficient to cause a French version of it to be made;
and to this A. L. Millin supplied some unimportant foot-
notes, written without any independent knowledge of the
collections themselves or of the specimens they contained '^\

71. But a time approached when many of these valua- ^"'"^ ("'

'■ '■ ■' crease of

'^ Of Statuary and Sculpture ouvrage iraduit de rAiiglois de M.

among the Antients. With some ac- Dcdlaway par At"* , public' et augments

count of specimens preserved in Eng- de notes par A. L. Millin. Paris,

land, London, 1816. Many of thecir- 1807, % vols. Millin also proposed to

cumstances here given are taken from have the second work translated, see

the memoir of Townley (note 152). Bcittiger, loc. cit. p. 84.

'^ Les beaux-arts en Angleterre,

126 ANCIENT MARBLES IN GREAT BRITAIN. [7 1

the British ble antiques were to pass into other hands than those of their
first collectors, a time marked by many auctions. Of some
we have already heard. In A.D. 1775 Ur Askcw's collec-
tion, in A.D. 1786 those of the Duchess of Portland and Sir
Charles Frederick, and shortly afterwards that of the Duke
of S. Albans, had been put under the hammer^"". About
the same time Lyde Browne had sold his marbles to St
Petersburg; and Locke and Jenningshad voluntarily parted
with theirs''''''. We first hear of the collections of Mr Chace
Price and Mr Beaumont when the fact of their sale is
announced to us''''. At the close of the last century and
the opening of the present, sales, often of great importance,
followed one another in rapid succession. Lord Vere's (A.D.
1798), Lord Cawdor's (A.D. 1800), Lord Bessborough's (A.D.
1801), Lord Mendip's (A.D. 1802), and as far as I know the
collections of the Duke of Buccleuch and Mr Anson were
sold not long after''^'. The same fate seemed to threaten
the splendid collection of the Marquis of Lansdowne, for
the second Marquis had taken them over from his father's
executors for the sum of eight thousand pounds and
had then settled them on his widow. However the
third Marquis, half-brother to the second, was fortunately
able to buy them from her and so to preserve them from
the fate of the Arundel gems (A.D. i8o9)^'l The excava-
tors and the dealers, the Hamiltons and Jenkinses, had now
passed away ; the ranks of the collectors began to thin
visibly in their turn. Lord Palmerston died A.D. 1802, Sir
Will. Hamilton in the next year, and in the single year
A.D. 1805 Lord Lansdowne, Sir Richard Worsley and Mr
Townlcy. Sometimes there were no direct heirs to inherit

^-^ Notes 793, 282, 155, 265. colossal Venus, and one of a small

3'-" § 52, notes 240, 242. size.

227 Of the formerDallavvay, //«(-(■(!'., '^^ Notes 266, 24S, 151, 175,

p. 389, mentions a Venus Salutifera, 245, 174. Henry, thiid Duke ofBuc-

and several vases of considerable clench, died A.D. i8i2.
value, of the latter a Cupid and an ^-^ Mrs Jameson, Companion to

eagle, which both passed into Town- the private galleries of art in London,

ley's possession {Anc. Marbl. Brit. London, 1844, p. 334, xi.
Atus. XI. 37, X. 58, i), and further a

7l] GOLDEX AGE OF CLASSIC DILETTANTISM. 1 27

the collections, sometimes tlic heirs did not share the inter-
ests of their predecessors, or again pecuniary circumstances
might oblige the family to sell its treasures: — in any case
there was but too often cause for the melancholy reflection
"how insecure is the permanency of heirlooms™!" The
old race passed away, new times had dawned — who could
foretell whither the tastes of the new generation might
lead? It was therefore natural enough that ardent col-
lectors, very unwilling to entertain the probability that
the results of all their trouble would soon be scattered to
the four winds, should seek some means of preserving their
collections from such a fate. The way had long since been
indicated ; it had been struck out by the Popes in Rome
under the eyes of Townley and Payne Knight. The Arun-
del collection was under the protection of the Oxford
University, and Clarke had just presented his sculptures to
Cambridge. Another public institution was yet nearer at
hand. The British Museum, founded on the legacy of
Hans Sloane, had been already several times enriched by
presents, from Thomas Hollis, the Lethieullier family and
Sir William Hamilton^^'. The nucleus of a Department of
Antiquities had been formed by the purchase (a.D. 1772) of
the first Hamilton collection, and a most valuable addition
had been made to this nucleus by the booty won from the
French in the Egyptian expedition (a.D. 1802)^'^ To
enlarge the rooms, and to make available a more free and
thorough use of the collections, were part of the plan of the
excellent director, Joseph Planta. Since A.D. 1791 Town-
ley had been a trustee of the Museum, and although he had
occasionally projected the removal of his collection at some
opportune moment to Townley Hall, the thought now struck
him to bequeath his marbles to this national institution, on

''» H. Walpole to Lady Ossory, isthebeautifulhcadof Hcrakles.found

178.S, Aug. 10. at the foot of Vesuvius [Arte. Marbl.

2'' 'EAvi&ris,^ Lives 0/ l/te Founders Brit. Mus., i. PI. 11).
oftheBrit.Mus.,\.^^.l^-,,i(io. One ^« Edwards, /. W/., I. pp. 361 —

of Hamilton's donations, for example, 368.

128 ANCIENT MARBLES IN GREAT BRITAIN. [71

one condition only, that within two years special rooms
should be erected for their reception (a.D. 1802). His idea
was not carried out precisely in this way, but after his death
his sculptures were bought from his heirs for the nation at
the price of ^^20,000, and the collection was made complete
by the purchase of his bronzes, gems, coins and drawings in
A.D. 18x4^^^ In the same year 1805 the British Museum
was opened free to the British public, many troublesome
formalities having up to that time been required in order
to obtain admission. Three years later (A.D. 1808) the
new Townlcy Gallery was completed and there appeared
for the first time a Synopsis of tlie Contents of the
British Ilusacin^^. Sixteen years later (a.D. 1824) Payne
Knight's liberal legacy was added. Thus the three men who
may be considered chief representatives of the Dilettanti
Society at the time of its most brilliant season of activity,
namely Hamilton, Townley and Knight, were yet again
so far united after their death that the results of their
favourite pursuits all passed into the safe keeping of the
public Museum of the British nation.

^'^ Dallaway in Nichols' Ilhistr. Townley's drawings are in the pos-

Liter. Hist. Wl.-^. 1^1. Ellis, Tmunley session of A. W. Franks, Esq., Brit.

Call., I. pp. 10 — 12. Edwards, /. Mus. (note 213).

«■/., I. pp. 368, 400. The price ^^■' Edwards, /. cit., I. pp. 336 —

amounted to ^8200. A portion of 341.

TlIK liRITlSH MUSia'AI AND THK TRIVATE
COLLECTIONS.

Grkece and England.

72. "To transplant old Greece into England." This Tniwlln
was what old Peacham had once commended as a merit 'noliwe'll,
in Lord Arundel. The idea of which the Earl had merely ^^^^^,
set the initiative, and which had then for a long time re-
ceived little attention, now at length began to be more and
more realised. The expeditions of Stuart and Revett and
those of the Dilettanti, the travels of Worsley, Clarke, and
their companions, showed plainly that the archaeological
magnet was veering strongly in the direction of Greece.
When the French domination in Italy made it, if not impos-
sible, yet difficult and disagreeable for the English to travel
there, the attraction of Greece became all the stronger,
especially taken in connection with the unlimited predomi-
nance of English influence in all quarters of the Turkish
empire after the overthrow of the French arms in Egypt.
It may not be inappropriate here to remember that just at
the opening of this century a great impulse was given to
the study of Greek throughout Europe, while the study of
Latin, which had so long occupied the foreground, was for
a time pushed aside. The interests for which F. A. Wolf
and Immanuel Bekker, Gottfried Hermann and August
Boeckh, Boissonade and Korais and many others were
working and striving on the Continent, were represented
in England by the brilliant constellation of Richard Porson

M. C. g

I30

ANXIENT MARBLES IN GREAT BRITAIN.

[72

and his school. It might be said that all concerns relating
to antiquity received a Greek colour. Nor must it be
forgotten that the disclosure of the wonderland of Egypt,
effected by the French expedition, opened a new perspec-
tive, and to a certain extent invited our own countrymen to
similar discoveries. Accordingly from the beginning of this
centur}^ a stream of enterprising travellers poured into
Greece : and first in the list stood the English. Out of a very
large number there can be mentioned here only those three
to whom we are most indebted for topographical and ar-
chsological researches: EDWARD DODWELL (a.D. 1767 —
1832)^^, William Gell (a.d. 1777 — 1836)^^", and Martin
Leake (a.d. 1777 — 1860)'^''. They are, however, less re-
markable as collectors of antiquities than on account of
their other merits. Dodwell formed a small collection in
which a few choice specimens were to be found among a
good many insignificant pieces (though all had a certain
value because of the accurate accounts given of their places
of discovery)'^". Leake brought home from his repeated
and extensive travels not only a considerable number of
marble sculptures, which he presented for the most part to
the British Museum ''*', but also a very fine collection of
Greek coins^", which, together with sundry bronzes and

'^' Dodwell was in Greece a.d.
1801, and again a.d. 1805, 1806.
Bassirilicvi della Grata, 1 8 1 2 . Clas-
sical Tour, II. 1819. Cyclopian or
Pelasgic Remains, 1834.

'^° Gell visited Greece at the same
time as Dodwell, and again a.d.
1811 — 1813 (note 343). Ilhaca, 1807.
A rgolis, 1 8 1 o. Itinerary of the /l/orea,
1 81 7. Itinerary of Greece, 18 19.
Journey in the Morca, 1823. Probe-
stiicke von Stiidtematiern, 1831. See
also the works on Pompeii and Rome.
His drawings were bequeathed (a. d.
1853) by the Hon. Keppel Craven to
the iSritish Museum.

'^^' Leake was four times in Greece
from A.D. 1S02. Athens, 1821. Asia
Minor, 1S24. Demi of Attica, 1829.
Morca, ill. 1830. Northern Greece,
IV. 1835. Pelofonnesicua, 1846.

'38 [Braun, E.] Notice sur le musee
Dodwell, Rome, 1837. Amongst
the Graeco-Roman antiquities the 115
bronzes constitute an important sec-
tion. All or most of the 143 vases
went to Munich (Jahn, Vascnsamvi-
lung K. Liidwigs in Miinchen, Mu-
nich, 1854, p. vi.l, among them the
celebrated 'Dodwell vase.' A head
once in Dodwell's possession from the
west pediment of the Parthenon, be-
longing to the second figure from the
north end, has disappeared (Class.
Tour, I. p. 325). tiee below, note
420.

3^' E.g.yl/«,r. Marbles, 1^1. PI. 17,
18. Millingen, Uned. Man. II. PI.
9, 10, 16.

'^^ Numismata Ilellcnica, 1856 —
59. Arch. Zcitung, 1846, p. 206 — 210.
See Cat., art. Cambridge.

72, J],] URITISH MUSKUM AND PRIVATl-: COLLIX'TIONS. IJI

vases, were purchased after his death by the University
of Cambridge.

73. The activity of a second and, so to speak, inter- Cockerdl
national party of travellers, belongs to the second decade archu.cis.
of our century, A.D. 1810 — 1815. This circle of intimate ~-^''''"'"'-
companions were so fortunate as to discover the pediment
groups of the temple of Athene at Aegina (A.D. 181 1),
and the frieze of the Temple of the Apollo Epikurios at
Bassae near Phigalia (A.D. 18 12). With the Dane Broend-
sted, the Livonian Baron Stackelberg, the Germans Linkh
and Baron Haller of Hallerstein, there were associated as
representatives of England J. FOSTER, and above all the
excellent C. R. Cock?:rell. The four last-named explorers
were in the summer of A.D. 181 1 guided to the discovery of
one of the slabs of the frieze by a fox, which crawled under
the confused ruins of the temple of Apollo. After some diffi-
cult negotiations with Veli Pasha, then governor of the
Morea, they at last obtained permission to make excavations,
and in the summer months of A.D. 1812 that magic scene of
mountain grandeur was witness to the development of a busy
and various activity among its silent rocks and mighty oaks.
The discoverers and their friends — Cockerell was not among
those present — lived in huts of boughs round the temple,
and had the satisfaction of seeing the numberless sculp-
tured fragments gradually piece themselves together into
the perfect whole. The whole undertaking was finished
in August, and soon after, new difficulties having arisen
and been overcome, the complete and costly result of the
excavation was securely stowed away at Zante. Two years
later it was there put up to auction*". Though the discovery
of these two series of sculptures at Aegina and Bassae was
undoubtedly the most important, still it was not the sole

'■" Combe, T., Mus. Marbles, vol. Epicurius at Bassae. I^ndon, i860.

IV., 1820. Stackelberg, dcr Apollo- A beautiful specimen of the vases in

tempel in Bassiv, Rome, 1826. Foster's possession is represented in

Cockerell, The Temples of Jupiter Stackelberg's Graber der llelleii.m,

Panhelleniiis [more correctly, of V\. 21, i.
Mincrvd\ at Aegina and of Apollon

9—2

132 ANCIENT MARBLES IN GREAT BRITAIN, [j ^, 74

fruit of the labours and researches of the little company.
Cockerell's thorough and sagacious researches and his untir-
ing activity stood the illustrated publications of the Dilettanti
Society and the British Museum in good stead for nearly
half a century. Besides his later work on the temples at
Aegina and at Bassae, Cockerell was engaged with Donald-
son, Jenkins, Kinnard and Railton on the continuation of the
Ji fitiqiiities of Athens^' ; while Francis Bedford and John
P. Gandy, guided by W. Gell, were working by commission
of the Dilettanti Society towards the completion of that
fundamental work, as well as of the Ionian Antiquities (a.D.
181 1 — 1813)'^'. It happened sometimes in these travels
and researches that here and there an original fragment
came to the hands of the explorers. With praiseworthy
unselfishness they gave up all they found to the British
Museum. This institution is, for example, indebted to
Cockerell for a piece of the Parthenon frieze, and to Gandy
for some interesting sculptures from Rhamnus''^^.
Lord 74. The great undertakings of LoRD ELGIN (a.D. 1766

vihl'r- — 1 841), which form so splendid an inauguration of the new
takings. century, threw all other acquisitions of original works into
the shade''*\ Urged by the architect Harrison, the young
lord, when he had been named ambassador to the Porte (A.D.
1799), resolved to have drawings and casts made of all the
Athenian sculptures that were accessible for the purpose.
An attempt to interest the Government in the scheme, and

^*- Antiquities of Athens and other Elgin are Hamilton's Memorandum
places in Greece, Stei/y, &^c. Supple- (notes 370, 378) and the report of the

•nentary to the Ant. of Ath. by Stuart Parliamentary Commission with the

and Revett. London, 1830. Minutes of evidence (note 387). Cf.

'■"^ The Unedited Antiquities of Anc. Marldes Brit. Mus. vil. p. 22,

Attica. London, 1817. Antiquities and the narrative founded on the ori-

of Ionia, vol. III. London, 1840. ginal documents in \ay Parthenon, p.

'" Parthenon, south frieze, slab i. 74 — 87. Besides this I have made use

(Mus. Marbles, viii. PI. .s6). Uned. o{lhe\eHetsmlhe Gentleman's Maga-

Ant. of Attica, ch.. VI. pref., ch. vii. zine,l.y.xui., 1803, II. p. 725 (Rome);

PI. I [Synopsis, 63 ed., 1856, p. 127, l.xxx., 1810, 11. p. 333 (London);

nos. 300, 325, fragment of head of Tom Taylor, Life of B. H. Haydon,

Nemesis, 325*, statue of 'Themis,' London, 1853, vol. i. ; Haydon, Cor-

326, p. 129, no. 3C)8). rcspondcncc and Table-talk, London,

'■'•' The chief authorities on Lord 1876, 2 vols.

74] HKITISII MUSEUM AND PRIVATE COLLECTIONS. 1 33

to obtain a small grant of public mohey, proved a failure,
for Pitt hesitated to authorize such an outlay, — a hesitation
easily accounted for by the enormous expenses incurred
during the long and burdensome years of war. Lord Elgin
therefore decided to undertake the work at his own cost.
By the advice of the experienced Sir William Hamilton,
who was then in Sicily, he entrusted the artistic guidance
of the enterprise to the Neapolitan painter Don Tita Lusieri,
while his secretary, W. R. Hamilton, engaged the rest of the
artists, a draughtsman, two architects, and two forniatori,
in Rome'*". With this suite the ambassador proceeded to
Constantinople. He did not himself go near Athens, but
after the necessary preparations had been made, despatched
the little party thither under the direction of Hamilton. In
consequence of Bonaparte's successes in Egypt at this time,
British influence in Constantinople was very slight, and it
was impossible to obtain permission to do more than make
drawings. The Athenian authorities showed themselves
most ingenious in intrigues, evasions, and hindrances of all
kinds; entrance to the Acropolis, for example, cost a daily
douceur of almost five pounds. Accordingly for nine months
the undertaking had only very small results. A change then
occurred in Egyptian affairs, and the influence of England
became again predominant at the Porte. Elgin instantly
availed himself of the favourable turn. A new firman at once
permitted the erection of scaffolding and the taking of plaster
casts (May A.D. 1801). Work began in good earnest on the
Acropolis, entrance to which no longer entailed a daily
payment, although there was even now no lack of incivility
and vexatiousness on the part of the garrison. A personal
visit paid by Lord Elgin to Athens'*" convinced him of these
facts, and he consequently applied for further powers. He
was soon enabled to arrange for the purchase and demolition

'"^ Hamilton's letter to Ilaydon, "' Lord Elgin's visit is clear from

1840, Dec. 25, in Haydon's Corrap. the Gentl. Atag.l.ws.., li.p- 333. Cf.
I. p. 4^5. Report of Comm. p. 42.

134 AXCIEXT MARBLES IN GREAT BRITAIN. [74, 75

of two houses next to the Parthenon. Under one was dis-
covered a rich booty of costly fragments of pediment figures :
under the other nothing at all. The Turkish owner pointed
with a sardonic smile to the lime in the city wall, which had
been made from the sculptures that once stood there ! This
was not the only experience of the kind. It was impossible
to ignore the fact that the ruin of the noblest works of art
in the world was progressing with giant steps. Since the
drawings of Dalton, Stuart, and Revett had been taken
half a century before, much had vanished and much had
been destroyed. In the year 1787 the French Vice-Consul,
Fauvel, had abstracted a metope and a slab of the frieze from
the Parthenon for his ambassador, Count Choiseul-Gouffier,
and the same enterprising agent was accused of cherishing
schemes far more extensive. Year after year also travellers
had been coming in increasing numbers, and taking away
larger or smaller fragments by way of keepsake. The sad-
dest fate, it was clear, awaited the buildings of Athens and
the sculptures of Phidias : they would be gradually broken
up, and dispersed to every nook and corner of the world'^l
Thcnei!) 75. Meanwhile Hamilton was engaged in travelling

audits through Asia Minor, Syria and Egypt. The chaplain to
'"'"'" the embassy, Dr Philip Hunt, was the life and soul of the

(JIWIUCS. -' ' ^ '

undertakings at Athens ; he was more often to be found in
that city and on other classic spots than in Constantinople'''^
At his suggestion Lord Elgin in A.D. 1801 obtained that
firman which has become so celebrated, by which full
liberty is granted to his work-people " in going in and
out of the citadel of Athens ; or in fixing scaffolding '
around the ancient Temple of the Idols; or in modelling
with chalk or gypsum the ornaments and visible figures
thereon, or in measuring the fragments and vestiges of
other ruined edifices, or in excavating, when they find it

'^* Elgin's opponents endeavoured '''' Hunt's assertion in the Report

to deny this danger. Cf. however the 0/ Commitlee, p. 140 — 147. Genii.

facts given in my Pai/hmon, p. 72, .l/«i'- i.xxill., u. p. 725. 1 have not

75. had access to Dr Hunt's 'Journal.'

75] BRITISH MUSEUM AND I'KIVATK COLLECTIONS. 1 35

necessary, the foundations, in search of inscriptions among
the rubbish;" finally it is commanded "that they be not
molested, and that no one meddle with their scaffolding or
implements, nor hinder them from taking away any pieces
of stone {qualchc pezzi di pictra) with inscriptions or figures."
The elastic final clause of this memorable permit was so
luminously expounded by Hunt to the governor of Athens,
the interpretation being backed up by an appropriate
present of brilliant cut-glass lustres, firearms, and other
articles of English manufacture, that the governor at once
gave leave for a metope to be taken from the Parthenon.
Hunt was prudent enough to have this forthwith put on
board ship and sent off to luigland. "The facility with
which this had been obtained induced Lord Elgin to apply
for permission to lower other groups of sculpture from the
Parthenon, which he did to a considerable extent, not only
on the Parthenon, but on other edifices in the Acropolis^"."
The result of these labours, which employed between three
and four hundred men for about a year, is well known.
The principal pcdimental figures, fifteen metopes and fifty-
six slabs of the frieze from the Parthenon (without including
numerous fragments), one of the sculptured ' Korai ' from
the Erechtheion, four slabs from the frieze of the temple of
Athene Nike, besides a number of architectural remains and
more than a hundred inscribed stones, formed the precious
booty. Many of these had not been taken from their original
places without difficulty ; in particular the removal of
several metopes, and of the statue from the Erechtheion,
had severely injured the surrounding architecture; at the
same time the fact must not be forgotten that a great part
of the sculptures had long been severed from their con-
nections, that they had been scattered over the whole surface
of the fortress, and sometimes built over with miserable
hovels, or else let into walls, and that they now owed their
collection and preservation to the zeal of Lord Elgin's agents.

^'''' Hunt's orni words, A';;/». <y Ci!;«/;;. p 142.

136 A^•CIE\T MARBLES IN GREAT BRITAIN". [75,76

It may be doubted whether Lord Elgin was quite discreet in
thus using the influence of his official position to further his
private undertakings ; or whether the interpretation of that
firman, made with the connivance of the Athenian magis-
trates,' was in accordance with the views of the Turkish
Government — if indeed the elasticity of the wording had
been made altogether clear to them ^'. But only blind passion
could doubt that Lord Elgin's act was an act of preser-
vation, and that he took the only possible steps to keep
together the remains of the most comprehensive creation
of Phidias, and guard from further disfigurement so much
as had been lucky enough to survive all preceding dis-
asters, from Morosini's bombardment to Fauvel's partial
depredation"^".
Transport j6. In the year 1803 Lord Elgin was recalled from his
marhUsto post. On his way home he visited Athens, where he found
England, ^.j^g most important part of his work finished and two hun-
dred chests full of marbles ready for transportation. Lusieri
remained behind in Athens to look after the shipping of
these chests and to superintend some arrears of work, while
Lord Elgin and the other artists went to Italy. In Rome
the drawings aroused Canova's highest admiration, and
prompted the advice never to have these masterpieces, the
renovation of which Elgin proposed to him, touched by the
hands of a restorer. While continuing his journey the Earl
himself was taken prisoner by the French, contrary to all
international law, and confined in Paris for two years. In
the year 1805, on account of a denunciation from Athens,
he was actually shut up in the fortress of Melun. While

'■''' It is singularly characteristic of only speaks of taking away, not of re-
Turkish Huplicity that the Turkish moving. Cf. also the anecdotes in
Government subsequently (i8ii) "en- Fellows' The Xanthian Marbles, p.
tirely disavowed ever having given 12 note.

any authority to Lord Elgin for re- ^^- As standard witnesses, be-

moving any part of his collection, and cause certainly not partial, for

did still refuse to allow the removal of Lord Elgin, I mention only Choiseul-

soine articles rem.iining behind "(Lord Gouflier, Voyage pittor. 11. p. 86,

Colchester, Diary and Corresp. 11. p. Quatremere de Quincy, Leitres A

327). As a matter of fact, the firman Canoi'a, pp. 5, 18, 30.

76, //] HKITISH MUSEUM AND I'RIVATK COI.I.EcTKjXS. I 37

Lord Elgin was thus unlucky, his art treasures met with
misfortunes of another kind. The majority of them reached
England in various ships, but in the absence of the owner
and his family the chests remained unclaimed in sundry
English harbours. About a dozen large chests were shipped
in Athens on board the brig 'Mentor,' in which Hamilton,
who had returned from his travels, also took ship. Near the
island of Cerigo the vessel sprang a leak, struck upon a
rock just at the entrance of the harbour, and sank. Hamil-
ton's energy succeeded in rescuing in the same year four
chests, which were brought up by skilful divers from Kos
and Syme. Further costly endeavours to raise the whole
ship by the aid of two frigates were unsuccessful; and it
was not until two years later, when the vessel had fallen
to pieces, that the same divers rescued the remaining chests
from the bottom of the sea and brought them again to the
light of day^^ This freight could now be brought to Eng-
land. Meanwhile Lusieri had to withstand other dangers
in Athens. War having been declared against England
by the Porte in AD. 1807, he was forced to leave the city.
Lord Elgin's marbles, which were stored in magazines,
were seized b\^ the French and taken to the Piraeus, where
they were threatened with the fate of shipment to France.
Thus they seemed likely to be dispersed again. But Eng-
land held supremacy at sea, and so no secure opportunity
for their transportation was found. The hostile prepara-
tions were closed by a hasty peace, and Lusieri soon found
himself again in possession of all the property. Not how-
ever till A.D. 1812 was this last freight, consisting of about
eighty chests, sent off to England.

jy. Immediately after his capture by the French Lord opposiiion
Elgin had sent instructions to England that his whole collec- pjlin
tion was to be handed over unconditionally to the Govern- ""'^j'^"-

' — Fay lie

ment, but these directions were not attended to. At last, A'nii^hi.

•'•'■' Aftnior. p. 53. Kef. of Coiiim. 11 p. 726. Hamilton in H.iydon's
App. p. xvni. Gciill. il/rt^'. Lxxiil., Concsp. I. pp. 424, 42J.

138 ANCIENT MARBLES IN GREAT BRITAIN. \jj

in A.D. 1806, he was liberated and enabled to return home.
At the cost of much trouble he collected his scattered chests
and brought them to London, intending to exhibit his trea-
sures to the public. A peculiarly unlucky star seemed how-
ever to hang over the expatriated gods"*. In the space of
a few years the marbles had to change their home four
times. First they sought shelter in the mansion of the
Duchess of Portland, then they were taken to Richmond
Gardens, thence to Lord Elgin's residence in Park Lane,
and finally to Burlington House. And another far heavier
cloud hung over them yet ; inasmuch as PAYNE KNIGHT,
before one of the chests had been opened, before he had
seen a single specimen with his own eyes, pronounced on
the unknown gods sentence of excommunication. About a
hundred and thirty years previously, the traveller Jacob
Spon, after a single visit to the Acropolis, had hazarded
the opinion that two of the figures of the west pediment
resembled the Emperor Hadrian and his consort Sabina ;
upon this Spon had founded the theory that all the pedi-
mental sculptures were a later addition to the temple ^^
Knight, who, as we have seen, considered that magnitude and
beauty could not be found together, took his stand upon this.
At the first dinner party at which Lord Elgin met him, he
cried out in a loud voice: "You have lost }'Our labour, my
Lord Elgin, your marbles are over-rated ; they are not
Greek, they are Roman of the time of Hadrian'''*." Great
as was Payne Knight's authority in matters of taste, it
would have been incomprehensible how such an absurdity
could meet with any supporters, had not other travellers,
who had been present in Athens during the operations
attendant upon the removal of the marbles, spoken much
of the reckless behaviour of Lord Elgin's agents at that

'''^ Cf. Michaelis, die Aiifnahme 1678, 11. p. 146. Cf. Wheler,

dcr Elgin Marbles in London, in yourney into Greece, London, 1682,

Jm ncucti Reich, Leipzig, 1877, 1. pp. p. 361.
81 — 94,135—150. '"• Haydon's o\vn wards ; zi. Life

350 Voyage ctLtalie, &c., Lyon, 0/ Llaydon, I. p. 272.

■J-J, •j'S] I'.RITISH MUSEUM AND rUIVATF. COLLECTIONS. I 39

time. Tiic severe censure which these agents deserved was
naturally visited on their master'". Lord Elgin's long in-
voluntary absence had made it impossible for him to dissi-
pate prejudices of this kind, and " Ics absents out toujours
tori"*." Thus the Earl, who could not possibly hold himself
responsible for the violence of his agents, found the tone of
critical circles unfavourable and even inimical to him, in-
asmuch as opinion in these circles was led by the Society
of Dilettanti, who in their turn took their cue in such
matters from Payne Knight. The fashionable disfavour
was transferred from Lord Elgin to his marbles. The
worst of all was an attack which Knight allowed himself
to make in his Introduction to the Spccitiicns of Antient
Sculpture, A.D. 1809, published in the name and under the
sanction of the Society, in which he said of the friezes and
metopes of the Parthenon: "as these are merely architec-
tural sculptures, executed from Phidias' designs and under
his directions, probably by workmen scarcely ranked among
artists,... they can throw but little light upon the more

important details of his art They are.... evidently the

works of many different persons, some of whom would not
have been entitled to the rank of artists in a much less
cultivated and fastidious age'™." Harmless as such idle
judgments would have been in ordinary times, they helped
to prejudice public opinion in the then position of
affairs^.

78. Thus ill appreciated by the aristocratic public of Champions
London, the Athenian deities lay for many years in a "damp %jgin
dirty pent-house" in the court of the house in Park Lane*", "ly''^'!"'
Their owner, who had thought to do valuable service to Fuseli,

. , . . , ■ -r Haydon.

his country by his exertions and great pecuniary sacrinces,

""' Clarke, Travels, IL 11. pp. given in Haydon's Corresp. I. p. 4'25.

483, &c. Dodwell, Class. Tour, I. p. '^^ Specimens, vol. I., prelim.

311, &c Hughes, Travels, i. p. 261. dissert, p. xxxix.

Eustace, Tour in Italy, I. p. 269, "'" WooA?,, ]., Antiq. 0/ Athens,

rails from a distance without having iv. p. 28, shows how Elgin toolc his

been in Athens. revenge.

358 This judginent of Hamilton's is ^f" Life of Haydon , I. p. 84.

I40 ANCIENT MARBLES IN GREAT BRITAIN. [78

could only feel deeply hurt by the partial tone taken by a
misguided but influential coterie. Still there were some
more judicious critics to be found, especially among artists.
The venerable President of the Royal Academy, BENJAMIN
West, unreservedly acknowledged the hitherto undreamt-of
greatness of these works, and tried at once to turn them to
account for modern art by employing them in his own
compositions'"'. The keeper of the Academy, HENRY
FUSELI, was of the same opinion"". The enthusiasm of
the younger generation expressed itself even more vigo-
rously, being represented especially by the talented but
unfortunate BENJAMIN ROBERT Haydon"^. From the
first moment that these marvellous works were presented
to his sight (A.D. 1808) he recognised their full value, their
peculiar character, and their great superiority over the
whole crowd of late Greek and Roman works which had
hitherto been \-alued as the highest form of antique art,
and which filled the galleries of the English Dilettanti.
He regarded it as certain "that it was the greatest blessing
that ever happened to this country their being brought
here'"'." For three months he kept copying the originals
till he made them quite his own, and thought and dreamt
of nothing else. He entreated Lord Elgin to permit young
artists to have access to them as much as possible, as they
were the true School of Art"'". So enthusiastic a spirit as
Haydon, and one so well able to handle the pen, could not
fail to come forward as the public champion of persecuted
beauty, and harbinger of the new gospel of art"". Stout
comrades in arms seem to have stood by him, like Elmes
and the architect John Soane™". However neither criticism,

'"= West to Lord Elgin, 1809, artist. See especially ///f, I. pp. 85,

Feb. 6, 181 1, March 10, in the &c. The reader cannot help being

Memorandum, App. A. Cf. Lif^ of infected by his enthusiasm.

Haydon, i. p. 86—88. ^«'' Haydon, Life, I. p. 89.

■^^"^ KnossXt^]., Life and Writlnss ^^ Haydon to Lord Elgin, 1808,

o;^//««r)/ /V/ft-//,London, 1831, rp. 294- Dec, in the Corresp.\. p. 256.

3"* Haydon regarded his acquaint- """ The Examiner, 1812, Jan. •26,

ance with the Elgin marbles as the Feb. 1, 9.

turning-point of his activity as an ^"^ The account is derived from

yH, 79] liKITISII MLSl.LM AMI rRIVAlK CULl.KCTIO.NS. I4I

nor scorn, nor enthusiasm could dissuade the aristocratic
circle from swearing by the word of their lord and master,
and the Elgin marbles remained as unfashionable and as
much under excommunication as ever. What was the good of
these headless and armless statues and these defaced reliefs?
They could not possibly be used for decorative purposes.

79. Under such unfavourable circumstances did Lord Attempts
Elgin find himself obliged to contemplate a sale of h\s'"J[f'i'ou.
treasures. The Athenian works had cost him ;^25,70O, Byron.
the transport ;^2,500, the salvage of the sculptures sunk at
the shipwreck i;'5,ooo, the task of collecting, housing, and
guarding them in England ;^6,ooo, making a total of
£1^,200, and besides these expenses he experienced a loss
of interest extending over many years and reckoned at
£23,240^'. The Earl received hints that he should offer
his marbles for sale in Paris, where they would be incor-
porated into the Miis^e Napoleon together with the booty
gained by the Napoleonic armies. He paid no heed to
this suggestion, for in all his undertakings he had had the
honour and interest of his own country exclusively before
his eyes. The British Museum naturally presented itself as
the most appropriate institution to fulfil these views and
wishes. The nucleus of a national collection of antiques
had been formed by Sir William Hamilton's vases, Townley's
Graeco-Roman sculptures, and by the capture from the
French of the booty they had gathered on the Egyptian
Expedition, and it seemed that this nucleus would be com-
pleted in the happiest way by the remains of the art of the
Athens of Pericles. At the beginning of the year i8u
W. R. Hamilton, Lord Elgin's former secretary', wrote a
"Memorandum on the subject of the Earl of Elgin's pur-

Bottiger, Dcnkschrift iiber Lord by Mr A. S. Murray, nothing of the

Elgi)Cs Erwerbiingen, Leipzig, 1817, kind exists there.
p. 54, and refers to letters of Ehnes '*' Elgin to Long, i8n. May 6, in

to Th. Hope, in Valpy's Pamfhlcteer, the Report of Comm. App. pp. \'ii. —

in., 1814, p. 329, and of Soane in xiv. Cf. also the letters to Bankes,

Prince Hoare's "The Artist." But 1816, Feb. 29, March 13 (pp. xv. —

there seems to be a mistake in our way, xxi. ).
as according to information furnished

142 ANCIENT MARBLES IN GREAT BRITAIN. [79

suits in Greece""," which described briefly and skilfully all
that the Earl had done and the value of his acquisitions.
It was perhaps not without an afterthought in regard to
them that Hamilton about this time joined the Dilettanti
Society'". In April A.D. 1811 Elgin asked compensation
for his expenses, trial of the artistic worth of his collection
by a competent tribunal, and the recognition that by his
trouble he had rendered a service to his country. He
believed this to be due to his honour, which had been
attacked by the ill-feeling of the Dilettanti. The premier,
Perceval, without causing any detailed valuation of the
sculptures to be made, only offered Lord Elgin the inade-
quate sum of thirty thousand pounds; and instead of any
recognition of his services, doubts were raised as to whether
the marbles were his own property, or whether, on account
of the official position he held at the time of his acquiring
them, they did not rather belong to the State. In this un-
worthy treatment the influence of the disfavour prevailing
among the aristocratic Dilettanti is distinctly perceptible.
Lord Elgin naturally broke off the negotiations ; for they
only brought him the scoffing nicknames of "stone-monger,"
" marble-dealer," and even " marble-stealer'"." The rod
seemed finally to break over the head of the "modern
Pict" when in the summer of A.I). 18 12 there appeared those
burning lines in which Childe Harold lamented seeing

"The walls defaced, the mouldering shrines removed
By British hands, which it had best behoved
To guard those relics ne'er to be restored,"

and discharged his full hatred upon "the last, the worst
dull spoiler" of the Greek temples'*". Again, all who should
venture to admire the Greek treasures by the Thames were

'^ London and Edinburgh, 181 1. ''' He was elected Jan. 6, A.D.

The first rare edition only contains 1811.

three appendices, West's letter to Lord ^" Horace Smith quizzes Haydon

Elgin, AWt'j- 0)1 Phidias and his School, with " your friend the marble-stealer"

and Millin, Description d'un bas-relief (Haydon, Corresp. i. p. },i<j].

du Parthenon, actiiellement an Musec '^'^ Canto n. str. 11 — 15.
Napoleon.

;9, So] BRITISH MUSEUM AM) PRIVATE COLLECTIONS. I43

plunged inlo the same condemnation by the " Curse of
Minerva'"*;" for the goddess was obliging enough to appear
in phantom shape to the noble English poet in order to
stir up his hatred against his Scotch compeer, and to
shower down a rich cornucopia of far from Olympian
curses.

" Meantime, the flattering feeble dotard, West,
Europe's worst dauber and poor Britain's best,
With palsied hand shall turn each model o'er,
And own himself an infant of fourscore :
Be all the bruisers call'd from all St Giles,
That art and nature may compare their styles;
While brawny bnites in stupid wonder stare.
And marvel at his lordship's stone-shop there."

The foolish condemnations of Payne Knight were not
dangerous for long, and soon passed into oblivion : but LORD
Byron with his words of flame became Elgin's most
dangerous enemy, since even to the present day his judg-
ment is often adopted by the ill-informed. It is well known
that the poet is always considered to be in the right, and
the more strongly he lays on his colours, the more credence
does he gain. What availed it that Byron's travelling com-
panion, Hobhouse, showed a very different comprehension,
one that was both more impartial and more true.' Besides,
Hobhouse's book did not appear till a year later"".

80. Who knows how much longer the incomparable Foreign

aid.

collection, increased meanwhile by the contents of those yjsconti.
eighty chests which had been so long detained in Athens, Lord

ElgirCs

would have remained unappreciated in the sheds of Bur- renaued
lington House, if unexpected and favourable circumstances •'*''''-^''^'"'*'
had not arisen .■' The immediate cause of change was the
judgment of two foreigners, very competent judges, who
opposed the opinion prevailing in England. After the
conclusion of the Peace of Paris (May 30, a.d. 1814)
LuDWiG, Crown Prince of Bavaria, came thence to

'"* This libellous poem, written at lessened if it be privately adminis-

Athens in March, a.d. i8ii, was, as tared.

is well known, not intended for publi- ''^° Journey through Albania,

cation. The effect of poison is not London, 1S13, I. p. 340, &c.

144 ANCIENT MARBLES IN GREAT BRITAIN. [8o

London. Himself an excellent connoisseur and successful
collector, having only a short time before this obtained the
marbles from Aegina, the Prince showed no limit to
his admiration of the sculptures, and extolled them, the
reliefs particularly, as the perfection of art'™. The similar
verdict of Ennio Quirino Visconti, the Director of
the Mus^e Napoleon, who shortly after came from Paris to
study Lord Elgin's collection, carried with it even greater
weight. What could be said in opposition to the judgment
of the recognised leader among living archaeologists, when
he expatiated upon the significance of those works for the
culture of modern art, as much as upon their beauty and
historical importance.' Lord Elgin's opponents could only
be thankful that this view was not yet made public in official
form'"'. Lord Elgin began to think he had a better pros-
pect of carrying out his former plan with success. Hamil-
ton was now Under Secretary of State, and his Memorandum
appeared at the beginning of the year 1815 in a new edition
intended for a larger public''^. He also opened negotiations
respecting the placing of the marbles in the British Museum,
as the sale of Burlington House made it neccssaiy
to remove them thence (March 21). The Trustees of the
Museum could not entertain the proposal immediately, they
too being hampered by want of space ; but they showed
themselves inclined to recommend the purchase of the
collection. Government seemed also disposed to buy, and
on the eighth of June Lord Elgin presented a petition to
the State to purchase his marbles, proposing, as the basis
for determining the price, not his own expenses, but a
valuation to be decided by a commission. The proposition
was laid before the House of Commons on the fifteenth of

^"* Letter to M. Wagner, 1814, oi \.he Memorandum, -pp. •;?> — 84.
June 17, in Urlichs, Z>!t'C/i'/foMrf .S>. ^"' Memorandum, i^c. Second

Maj.des Konigs LttdwiglvonBayerH, eriition, corrected. London, John

Munich, 1867, p. .';3. Murray, 1815. There are in addition

'" Leth-e de E. Q. Fisconii ^ un Visconti's letter and a letter from an

Anglais (W. R. Hamilton), Paris, anonymous person to a friend of Lord

1814, Nov. 25 ; in the second edition Elgin's, January, 1815.

80, Si] liRITISII ML'SKL'Nt AM) I'klVATl' Ci »I.I.i;CTMNs. I45

June, and was not received without eager and immediate
opposition: the Battle of Waterloo and the adjournment of
the House (July 12) prevented the matter being then
brought to a conclusion''''.

Si. This time, however, the delay worked favourably, r/u- Phi-
In the autumn of the year 1815 the reliefs from Phigalia at '^^,^^!^/^.,
last arrived in England. They had been purchased in Canmia's
Zante by the Prince Regent on the first May A.D. 18 14, for^^/^.^'^
£\^fyoo. In consequence of this purchase universal at- "'""""''''■'•
tention was turned to the remains of Greek sculpture, and
it was moreover inevitable that comparisons should be
instituted between the friezes that the State had thus
obtained and the marbles which were offered to it by
Lord Elgin. It is unnecessary to add that Payne Knight
spoke as loudly in favour of the Prince Regent's acquisition
as he continued to do in condemnation of Lord Elgin's'" ;
but the truth was irresistibly making way. Its final triumph
was assured when a new authorit}', and one from which
opinion at that date allowed no appeal, pronounced in
favour of the Elgin marbles. C.AXOVA came to Paris to
recover for the Vatican the art-treasures that had lately
been carried off. Visconti's unqualified approval of the
Athenian sculptures might well determine him the more
readily to accept an invitation from the sculptor Rossi to
visit him in London. He came in November. Hamilton
conducted him to see the marbles ; Haydon, who was then
occupied in taking the first casts of them, acted as cicerone.
Canova's expectations had been pitched high, but he found
them far surpassed. In his opinion these sculptures put all
other antiques, the Apollo Belvedere not excepted, quite
in the shade ; it was worth a journey from Rome only to

''' Lord Colchester, Diary and pion, by the editor, John Scott, and

Corrcsp. II. p. 534, 546, 547. 'Report by Haydon. Thus according to

o/Conim. p. 53. Hansard's /'iir/ia/H. Bottiger, Denkschrifl, p. 55, who be-

Debates, xxxi. pp. 8j8 — 830. sides refers to the Nciu Monthly

**" In the AJornhi^ Chronicle. — Magazine, i8i6, April, pp. 247 —

Contradictions followed in the Cham- 249.

146 ANCIENT MARBLES IN GREAT BRITAIN. [8 1

see them ; they must necessarily work a great revolution in
modern sculpture. Canova himself regretted that he had
not been able to study from them in his youth : " Oh ! that
I were a young man, and had to begin again, I should
work on totally different principles from what I have done,
and form, I hope, an entirely new school." He spent all
his spare time during his short visit in studying them most
carefully. Ever>'where he sounded their praise, and pro-
nounced that if ;^i 5,000 had been paid for the Phigalian
frieze, this collection was certainly worth ^100,000'". Such
expressions, from such a mouth, naturally made a great
impression on the public at large and on the Government ;
while Payne Knight, and those who had blindly followed
him, were much perplexed''*\ This change in the general
tone was particularly valuable to Lord Elgin just now, as
he was entangled in a vexatious literary controversy, which
though not directly connected with his marbles, yet con-
cerned his honour'^. In February A.D. 1816 he again
presented his petition to the Lower House, and a week
later a Select Committee was appointed "to enquire whether
it be expedient that the collection should be purchased on
behalf of the public, and if so, what price it may be rea-
sonable to allow for the same'^." The constitution of the
Committee, of which Henry Bankes was elected chairman,
was supposed to be inimical to Lord Elgin, and not quite
without reason, for Bankes had repeatedly in Parliament
expressed doubts as to the right of Lord Elgin to the

'^' Canova to Elgin, London, 1815, Review, S^c, London, 1S16, and Posl-

Nov. 10 (Visconti, j9i'«j; mem. p. i). script to a Lettei; &^c. Hunt, Philip,

Haydon, Life, I. pp. 293 — 297. A Narrative of what is knvion re-

Corresp. I. pp. 321 — 313, 424, u. p. spectiii^ the Literary Kemains of the

19. Rossi in the A;^«-/ tf/" Ctfw;«. p, late John Tweddell, London, 1816.

88. Planta in Lord Colchester's Quarterly Rei'ie-cu,w\'. no. wxn. axL

Diary, 11. p. 564. l\Iorgenblatt, "Elgin." Tweddell, W., Addenda to

Tubingen, 1816, nos. 51, 52. the Remains of y . T-i>cddcll, London,

'^'-^ Haydon, Life, I. pp. 297, 098. 1816, and Account of the Examination

383 J^ciiiains of the late John of the Elgin-box at the Eoreign Office,

Tweddell, ed. by Robert Tweddell, on -jth Nov., 1816, Manchester.
London, 1815, Appendix. Lord Elgin, ''^^ Hansard, /'(»■//««/. Z)iA xxxu.

Letter to the Editor of the Edinburgh pp. 577, 823—828.

Si, 82] BRITISH MUSEUM AND PRIVATK ( r)l.l.!:C IIONS. 147

sculptures as exclusivelj' his private property""'. The suc-
cess of Lord Elgin's petition was c\cn regarded in many
circles as so doubtful, that the Crown Prince of Havaria,
it was rumoured, secretly lodged thirl\- thousand pounds
with his London agents for immediate advance to Lord
IClgin if opportunity offered""'.

82. The course of the deliberations of the Committee Ddihcra-

. . lions of the

did not justify such apprehensions, and Bankcs proved him- Commiitce.
self a thoroughly impartial president"*". On the twenty- Liumry
ninth of February the hearing of witnesses began, Lord
Elgin being the first. He, Hamilton, and Hunt, as having
been most immediately concerned, were regarded as the
chief witnesses for the establishment of the facts. A
second group consisted of travellers who were called upon
to confirm the degree of danger which had threatened the
sculptures in Athens. Morritt in particular described this
danger very impressively ; in addition to him were heard
Lord Aberdeen, Wilkins the architect, and Fazakerle)-.
The third and largest group was composed of artists
and connoisseurs. Among the latter the most interesting
witness was Payne Knight. His judgment in art did no
honour to the purity of his taste — only the metopes finding
favour in his eyes — but we can distinctly perceive his feel-
ing that he is struggling for a lost cause. Wilkins expressed
himself with great coldness ; Lord Aberdeen with far more
freedom from prejudice, although he had been regarded in
public as a leading opponent of the purchase""^ The testi-
monies of the artists have a very different tone, particularly
those of the sculptors, Fla.xman, Chantrey, Westmacott,

"* Haytlon, Corresp. I. p. 94. official edition was ordered to be

Hansard, Parliam. Dchatcs, xxxi. p. printed jotli April, 1816. 'I"he re-

829, XXXII. p. 825. port itself, without the extremely

^^ Haydon, Corresp. I. p. 94. interesting minutes of evidence and

Ellis, Elgin Jiliirlilcs, i. p. 10. official documents, has often been

kcport from the Select Com- reprinted.

mitlec of the House of Commons on the ^^ Haydon, Life, I. p. 303, 304.

Earl of Elgin^s Collection of Sctilp- In the JS'jr<i/«/«c';-, no. 43.;, 1816, Apr.

tured Slarhles, London, 1816. Tlie 28, there appeared a satiric poem on

report is dated March 25, i8iC); the Knight and Aberdeen.

10 — 2

148 ANCIENT MARBLES IN GREAT BRITAIN. [82

Rossi ; the eccentric old Nollekens was less communicative.
Different as were their modes of answering this or that
separate question — Flaxman gave the Committee a set
lecture on the history of art — they were unanimous in the
opinion that the Elgin marbles belong to the very highest
class of all known antiques, and that they not only far
excel Townley's Graeco-Roman sculptures, but deserve to
be preferred before the friezes of Phigalia. Such had
already been the opinion of Canova, and so now said the
painters West and Lawrence, and the art-dealer. Day. It
was a pitched battle between the old and the new periods
of taste, but the victory of the latter was a foregone con-
clusion. Haydon would also most willingly have given
his testimony. Lord Elgin had proposed him as a witness,
but he was put off day after day, till at last his evidence
was altogether dispensed with "out of delicacy to Mr
Payne Knight." He then sent forth his voice abroad in a
fulminating article which appeared in two weekly papers
on the next Sunday after the hearing of witnesses had
concluded (March 13) : " On the judgment of connoisseurs
being preferred to that of professional men." The article
created a tremendous sensation ; replies and rejoinders fol-
lowed ; it was translated into foreign languages, and went
the round of Europe as the writ of a new art-gospeP'".
Then came just at the twelfth hour the two masterly
treatises of Visconti which he had read before the Paris
Academy in the preceding autumn. Lord Elgin received
them just in time to have them printed, together with a
letter of Canova's, both in the original languages and in
English™. The book appeared in May. The Earl's skill,

"'"Haydon, Life, I. pp. 306 — 313. ^^ Lelire du chev. A. Canova ; et

CoTresp, I. pp. 94 — 90. Examiner, deux Alemoires his h Vlnstitut Royal

1816, no. 429, March 17. Reply by de France\\^ii, Oct. 21 .and Nov. 10]

"J. W." in the same paper, no. 432, sur les oitvroges de sculfture dans la

Apr. 7. Rejoinder by Mariette, no. collection de Afylord Comte d Elgin,

434, Apr. 2 1. Haydon's fiery article par le chev. E. Q. Visconti. London,

appeared at the same time in the 18 16 (reprinted in Paris 1818, and in

Champion. Visconti's Operevarie, ui. p. 84). A

82, 83] IIRITISII MUSEUM AND PRIVATE CUl. LECTIONS. I

in thus marshalling in battle array his native troops and
his foreign auxiliaries exactly at the right moment, elicited
no small admiration""'.

8^. The seventh of June was the memorable day of TAe
the parliamentary debate, which placed the official seal on oj'/lt""
a complete revolution in taste"*'. The report of Bankes' ■^'■'^'",

'^ viarbles

Committee proved the legality of the claim of ownership, >'-/'i<
enlarged on the value of the collection both for its own Ahillum,
sake and for the culture of art in England, and proposed in
conclusion, in accordance with a valuation made by Lord
Aberdeen, and agreeably to Perceval's former offer, a pur-
chase sum of thirty-five thousand pounds. This proposal
should have contented those who considered that Lord
Elgin was at the most entitled to indemnification for his
expenses, and that anything obtained by an ambassador be-
longed half to the nation ; for Elgin's bare costs had in the
meantime risen to ^5 i,ooo, and the interest on the capital he
had laid out was reckoned, as we have said, at ;^23,240; so
that the sum proposed would not cover the half of his total
expenses. But, although the value of the collection was
hardly called in question— such had been the impression
produced by the hearing of the witnesses and all the inci-
dental discussion^yet the peculiar character of the acqui-
sition on the one hand, and on the other the impoverished
state of the national finances, gave excuse to the opposition
party for long debate, till they could at last retire with
honour and give way to a majority of cight>--t\vo voices
against thirty. The ratification of the resolution, on the
part of the [jublic journals, even those of the opposition,
followed immediately"'; and when soon after (a.d. 1817)
the newly acquired sculptures were exhibited in the rooms
of the riluscum, the value of the treasure that had at last

iMler, b-c, and two Memoirs, &'c., Leipzig and Altenburg, 1817, p. 53.
London, 1816. -""s Hansard, I'arliaiii. Debates,

^" Denkschrift iiher Lord Elgin's XXXIV. p. 1027— 1040.
Enverbungen in Gricchenland. Mit i»" 'J'itnes M\i Morning Chronicle,

einer Vorrede von C. A. B6I tiger, 1816, JuneS.

ISO

AXCIKNT MAK151.es IN CRIiAT IJRITAIN.

[83

been happily housed, was recognised by the pubHc at
large ; from the riding-master who recommended to his
pupils the study of the Panathenaic horsemen'", up to the
circle of the most gifted artists, who eagerly drew upon the
newly opened resources of study'"", and even to the royal
and august personages who visited London from abroad'*'.
The excitement caused by the whole affair extended far
beyond England's boundaries. The venerable GOETHE,
brought up with quite different views of art, longed to see
those works "in which alone law and gospel were united ;"
he considered himself happy to have at least lived to see
this event, and sketched a plan for every German sculptor
in future to come and study for a time in the British Mu-
seum'"'. Plaster casts, taken first from Haydon's models,
and then from other sources, were rapidly circulated through
Europe, even to the Neva and the Tiber'™, and they caused
the sculptor Dannecker to give utterance to the just obser-
vation, "these works seem moulded from the life, and yet
he had never had the good fortune to see in the life such
perfection'"'." But the most inspired prophet was the gifted
Quatremere DE Quincv, then sixty-three years of age,
whose seven letters, written to Canova in the year 1818,
bear witness in the most eloquent manner to the complete
change wrought in the general view of the history and
aesthetics of Greek art^"". At one stroke the British Mu-
seum had become the most distinguished museum of anti-

■■'!'* Smith, J. Th., Nollekms, I. p.
316 note. Cf. Haydon, Corresp. i. p.
ix. note 3. Nortlicote judged very
differently (Haziitt, Conversations of
y. Nortlicote, London, 1830, p. 355).

^*' Haydon, Corresp. I. p. 106,
336. The Eliriii Marhles, London,
1816. Lyons, Edwin, Outlines of the
E.M., London, 1816. Burrow, The
E.M., I. London, 1817. Lawrence,
E. A/, from the Parthenon of Athens,
London, iSiS.

""' Haydon, Corresp. i. p. 103.

"" Goethe to Sartorius, 18 17, July
30 (see jVcue Freie J'resse, \'ieniia.

1878, Jan. 8). Id. Werke, xx.xil. p.
171, XLiv. p. 36. Haydon, Corresp.
I. p. 382.

398 Petersburg : Haydon, Corresp.
'• PP- 3^3—3^9. '■• P- 64. Rome,
Canova : Haydon, Life, I. p. 297.
Corresp. 1. pp. 321 — 323. Thorvald-
sen : ib. U. p. 173.

■*"' Dannecker to Welcker, 18 19,
July 26 (see Iin neiien Reich, Leipzig,
1S77, I. p. 147).

■"'" Lettres I'crites de Londres li
Rome, et adressi'es ei AI. Canova. sur
les Marbrcs d' Elgin. Rome, 18 18.

83, 84] lilUTISU MUSKU.M AND I'RIVATL COLLECTIONS. 151

quitics in the world, and with the secure prospect of always
remaining such. The splendid publication of the Mtiscitin
Marbles, published by Taylor Combe, Hawkins, and others,
under the direction of Flanta, was the outward sii^n that
the institution was both conscious and proud of its new
position ; the sculptures of Phigalia and Athens, drawn
by the master-hand of II. Corbould, were here reproduced
in an exemplary manner"'". By the legacy of Payne
Knight (.•V.D. i 824) the section devoted to bronzes and Greek-
coins was soon enriched to such a degree that henceforth in
this respect too the museum needed to shun no comparison.

84. Tantae violis erat Elgini condere signa. The only The
persons who, in this affair, had suffered serious damage f^//^-^
were the Dilettantl Still it would be unjust to judge ■^ff^?^
them only according to the unlucky part which Payne lonti.
Knight's mistaken persistency had betrayed them into
playing. It must not be forgotten that in A.D. 181 1, soon
after the publication of the first volume of Specimens of
Antient Sculpture, the Greek expedition under the conduct
of W. Gell was fitted out. It cost over ;^6,500. Again in
the year 18 16, at the suggestion of Sir Henry Englefield,
and with a view to the publication of the results of that
journey, an "Ionian Fund" was founded, to which every
member contributed ten guineas for five years. They were
in consequence in a position to publish in A.D. 1817 the
Unedited Antiquities of Attica, in A.D. 1821 to follow
this up by a new and improved edition of the first volume
of the Antiquities of Ionia, and finally in 1840 A.D. to
complete this work with the third volume""'. All these
undertakings contributed towards the more intimate know-
ledge of Greece and Greek art, and they in this way moved
in the same direction as Lord Elgin's activity. When Payne

*" A Dcsaiflion of Am'uitl I.— MI., v., X., XI., relate to the

Marbles in the British Museum, voL Townley Sculptures.
IV. 1820 (Phigalia). VI.— Tin. i8.p *- [Hamilton! ^^'^1- Notices Soc.

— 18.^9 (Parthenon). IX. 1842 (Elgin Dil. pp. 46—51, m. Cf.above, notes

Miscellanies). Theremainingvoluuies, 342, 343.

15? ANCIENT MARBLES IN GREAT BRITAIN. [84

Knight was dead (a.d. 1824) and Hamilton had under-
taken the secretaryship of the society (A.D. 1830), there was
a hope of peace; for the society elected Lord Elgin as a
member without his knowledge in A.D. 1 83 1. But flatter-
ing as was the form of the proposal, the Earl could not
bring himself to accept the honour. In a polite but decided
letter to the secretary (July 25, 1831), he referred to his
former exertions, the result of which "will never cease to be
a matter of the utmost gratification to me. If, when it was
made known to the public, twenty-five years ago, or at any
reasonable time afterwards, it had been thought that the
same energy would be considered useful to the Dilettanti
Society, most happy should I have been to have contri-
buted every aid in my power. But as such expectation
has long since past, I really do not apprehend that I shall
be thought fastidious, if I decline the honour now pro-
posed to me at this my eleventh hour^"'V' While this effort
to atone for an old fault failed, the society was zealously
exerting itself to win new honours. It supported Sir Wil-
liam Gell, now its "Resident Plenipotentiary in Italy," in
the publication of his Topography of Rome and its Vici-
nity (A.D. 1834)'"'''; by means of a subscription raised partly
among its own members and partly among other lovers of
art, the imposing sum of ^^834. 16. 6 was obtained, and
was given to the British Museum to enable it to compass
the purchase from Chevalier Bronsted of the so-called
bronzes of Siris, consummate examples of Greek metal-
work (A.D. 1833), and also to provide for their appropriate
publication (A.D. I836)^°^ Finally, in A.D. 1835, after many

''"■' Hist. Notices, p. loi. Edin- of the Bronzes of Siris, no'w in the

bttrgli lit-i'ieiv, cv., 1857, p. 504. Brit. Mus., nn archaeological essavhy

■■"^ T. vols. London, 1834. A new P.O. Br., 1S3C); subsequently e.xpand-

edition, revised by E. II. Bunbury, ed under the title /?/VAVo«C('« 7'oh .Sl-

1846. The .Society awarded Gell, who »■/.?, Copenhagen, 1837. Thepedigreeof

regularly sent in to it a report from the bronzes is very doubtful, as the Nea-

Italy, a honorarium of ;{^20o for the polilan vendor Nlichele de' Crescenzi

volunie (Histor. Notices, m. 94 — 97). stated to Broendsted that the place of

•"'■' Broendsted got ^looo for the their discovery was Saponara, not far

originals and ;^ioo for the engravings from Siris, to E. Brauii (BiiUett. liclf

84, 85] BRITISH MUSICUM AND rRIVATF. COM.IXTIOXS. I 53

ycirs' preparation, appeared the second volume oi Spcciiiiciis
of Anticnt Sculpture, the earliest plates of which had been
already executed before the publication of the first volume**'.
Unfortunately the second volume does not deserve the
same praise as its predecessor. The work opens with
an introductory treatise by W. S. Morritt, of no great im-
portance, after which the society thought themselves bound
to add Payne Knight's luquiry into the Syiiibolisvi of
Greek Art aud Mythology, which had already been twice
printed*". In fact it paid more regard to piety towards a
departed and meritorious member, than to scientific inves-
tigations which had in the meantime established stronger
claims to soundness and perspicuity. The execution of
the fifty-eight plates is far inferior to the workmanship of
the earlier ones and in its weak smooth elegance shews
disadvantageously on the whole by the side of the work
of the British Museum. In the choice of sculptures, the
lion's share has fallen on the British Museum, as eight
specimens from Townley's collection, ten from Knight's
and four others make a total of twenty-two from this
source. The remaining thirty examples are taken from no
less than sixteen different private collections, in strong
contrast to the more exclusive character of the selection
in the first volume. Christie, Hope and Westmacott, as
well as Knight, contributed to the text.

85. Handsome, then, as this volume was, still the ques- Minor
tion could not fail to suggest itself whether such a collected ^ly'^JZa-
publication of single specimens, mostly of second and third '■""•

Koi^i-rs.

rank, was as appropriate now as it had been six and twenty
years ago; for by this time the national institution could
and did publish complete connected series of sculptures of
the first order. The treasures of the Golden Age of Greece,

Jiisl. 1 84 1, p. 1.^6) and to Welcker ■""'• Hist. A'ol. pp. 56—59. The

{MS. Note) Amiento, to K. O. expenses amounted to about ;^4,ooo.
Miiller {Zeitsihr. f. d. AU.-Wiss. *" At first printed for private cir-

1S45, p. loS) Vulci. James MiUingen culation A.I). 1818, then reprinted in

also mistrusted these statements. the Class, your., \oh. .\xiu. — .xwii.

154 ANCIENT MARBLES IN GREAT BRITAIN. [85

which were collected in that museum, assuredly weighed
heavily against the private collections, which were mostly
Graeco-Roman and lent to their publication an almost pre-
ponderating personal interest. Certainly the new volume
proved that Payne Knight had exaggerated when he had
stated before the Commission on the Elgin marbles that
there are no collectors in this country''"''. Besides the
Egremont, Hope and Lansdowne collections, which had
already been represented in the first volume, besides those
at Holkham, Ince, Marbury, Newby, Strawberry Hill and
that of Mr Hawkins, all of which dated their origin from
the last century, new names were to be found, chiefly from
the circle of the Dilettanti themselves. Such were LEAKE
and DruMMOND Hay, each of whom had contributed a
bronze''". W. J. Bankes, of Kingston Hall, appeared as
the possessor of a few heads, which had been brought by
Consul Baldwin from Egypt and in A.D. 1828 put up to
auction. W. R. HAMILTON contributed a head of the same
origin and a beautiful fragment that Canova had given to
him^'". The sculptor RiCH. WestmacOTT, who possessed
a small collection of not very important marble statues, was
represented in the volume by a small bronze Athene*'' ;
the poet Sam. ROGERS by an excellent marble head which
owed its origin to the excavations of Fagan at Ostia.
Rogers' collection, in the formation of which James Mil-
lingen had been active, consisted mainly of painted vases,
sometimes of considerable value. Besides these there were
fifty specimens of bronzes of all kinds and as many gold
ornaments; also some objects in glass and terra cotta, and
lastly about eighty Egyptian antiquities. The whole col-
lection enjoyed great fame for the taste with which it had
been formed'"^ The last new name in the second volume
of the Specimens was that of the Duke of Bedford.

*<" Report of Comm.-^. 100. Museum.

■"" Leake's Herakles is now in ■"" See Cat., art. London.

Caml)ri(lge, Hay's Herakles {Mon. •"' See Cat., art. London.

delt Inst. I. PI. 17) in the British ■''^ Waagen, 7'reas. 11. p. 81.

86] liRITISII MUSEUM A\D PRIVATE COLLECTIONS. 1 55

S6. Ill liie time of the first of the Stuarts vvc find that r/ie
a Countess of Bedford had interested herself in ancient coins, jj"jL°{j_
and about the middle of the last century Francis, Marquis
of Tavistock, had brought a few marble statues home
with him from Rome^'^ A very splendid specimen, the
so-called Lante vase, and a beautiful sarcophagus relief
from Sicily were obtained by his eldest son, Francis, the
seventh Duke {d. A.D. 1802), at Lord Cawdor's sale (a.d.
1800)^". But his younger brother, JOIIN, SIXTH 'DUKE
OF Bedford (a.d. 1766— 1839), is the real founder of the
celebrated collection of Woburn Abbey. During travels in
Italy in the year 181 5 he made numerous purchases, among
which a number of unusually large sarcophagus slabs from
the Villa Aldobrandini in Frascati deserve particular men-
tion. They were not brought to England without difficulty.
The Rondanini Palace, the painter Camuccini, and also
James Millingen contributed other specimens ; and the
results of the newest excavations, of those in Hadrian's
Villa for example, were not passed over. The Duke was
present at an excavation at Pompeii, and the dantiest find,
a bronze satyr, was immediately presented to the illustrious
stranger by Queen Caroline. In England, where the Duke
joined the Society of Dilettanti in the year 18 19, his
collection was increased by several purchases ; nor were
plenty of presents wanting. His second son, Lord George
William Russell, the father of the present Duke, brought
with him a few specimens from Italy ; others were pre-
sented to the head of the Russell family by personal and
political friends, like Lord Holland and Sir George Hayter.
The whole collection was then (a.d. 1820) placed in a splen-
did situation in the large, bright hall that had originally

Catalogue of Ihe wry celebrated Collec- lection see Waagen, li. p. 27 r.

tion of Works of Art, the property of ■•" Cf. above, notes 29, 210. Wo-

Sam. Rogers, Esq., deceased. Messrs burn, nos. 171, 210.

Christie and Manson. Apr. and May, ■"■' For details see Cat., art.

1K56. Cf. Archaeol. Anzeiger, 1856, Woburn.

pp.247 — -;4- For Miss Rogers' col-

156 ANCIENT MARBLES IN GREAT BRITAIN. [86, 87

Collectors
at Rome.
Duke of
Bucking-
ham, Lord
Kinnaird.
Disney,

been intended for a conservatory. There is a particular
charm (which may be compared in a small way to that of
the Campo Santo at Pisa) in the close contiguity of the
antiquities to masterpieces of modern sculpture, by Canova,
Thorwaldsen, Flaxman, Chantrey and Westmacott, to nu-
merous copies of celebrated old and modern sculptures, and
to busts of the heads of the Whig party. The Woburn
Abbey collection must take a place of honour among
English sculpture-galleries, and the Duke himself was
busily engaged in preparing to make this evident by a
splendid publication, the plates of which were drawn by
Corbould, while the text was by Dr Hunt, once Lord
Elgin's chaplain and agent, but now Dean of Holkham"\
This work appeared in A.D. 1822, but the purchases by no
means ceased then. Pieces of a mosaic flooring and a
couple of Assyrian reliefs were added later, the last-named
undoubtedly after the death of Duke John (A.D. 1839). To
shew the direction of the latter's taste, it is worthy of men-
tion that he caused the riding school at Woburn Abbey to
be adorned with casts from the equestrian procession of
the Parthenon; homage was paid to his elegant taste by
the dedication to him of Inwood's great work on the
Erechtheion at Athens'"".

87. The example of the Duke of Bedford shews that
Rome, in spite of a long pause, had not lost her old power
of attraction. The English, indeed, had now no longer the
sole control of the market of antiques in that city. Besides
the French (among whom both the Government and private
individuals were active, such as General MiolHs and Prince
Lucien Bonaparte) and some few Russians, the Crown
Prince Ludwig of Bavaria was collecting through his agent
Martin Wagner with great success for the proposed Glyp-
tothck at Munich. After the Restoration Prussia soon
entered the competition on behalf of the Berlin Museum;

■"' Outline Diigraviiigs and De-
scriptions of the iVoburn Abbey

Marbles. 1R22. fol.

■"« London, 1827. fol.

S-] HKITISII MUSF.L■^^ AXn PRIVATE rOI.I.KCTTONS. 1 57

tiic Duke of Blacas, Count l'(HutaliJs, Durand and other
Frenchmen, developed a most zealous activity; and above
ail the Papal Government took a great share in the pur-
chases on behalf of the Chiaramonti Museum, and later of
the Latcran Museum. The Archaeological Commission,
w ith the watchful Carlo F"ea at their head, did everything
to hinder the exportation of the better specimens'". The
Barberini Faun, for example, afterwards a chief ornament
of the Munich Glyptotliek, had already been sold once
for about /'a, 850 (13,000 scudi) to an Englishman; but its
removal from the city was at that time forbidden■"^ Fagan,
who had increased his Roman supply by valuable pur-
chases from Sicily, tried in a measure to replace Hamilton
or Jenkins ; but he died as early as A.D. 1816"'. Edward
Dodwcll and James Millingen did some business in an-
tiques, and did not restrict themselves to purchasers among
their own countrymen"". Many of the latter instituted
excavations on their own account. THE DUCIIESS OF
Devonshire, a daughter of that Earl of Bristol, whose
collections had suffered so much at the hands of the French,
earned gratitude by clearing out the Forum round the
column of Focas, and that not at all for her own benefit (A.D.
1 817)"'. The excavations undertaken by Richard, Mar-
quis OF Chandos, afterwards DuKE OF Buckingham
AND Chandos (a.d. 1776 — 1839), on the Via Appia and

■"" Much material is contained in
the little volume by L. Urlichs, die
Clyftothek Sr. Maj. des A'dtiigs Liid-
wig I von Bayern nach ihrer Ge-
schichte undihrcm Bestatulc. Munich,
1867.

"» Urlichs, Glyptothek, p. 26.

«9 //'. pp. 69, 70.

*™ Dodwell sold, for example, to
the Crown Prince of Bavaria the re-
markable bronze reliefs from Peruj^ia
{Glypt. nos. 32 — 38), and an archaic
head of a warrior {ib. no. 40) ; see Ur-
lichs, Glypt., pp. 77,95. For the rest
cf. note 338. The excellent Millingen
had collected and brought to England
many beautiful or interesting works;

for instance a bron.-^e candelabrum
belonging to S. Rogers, Wobum,
no. 99, Anc. Marbl. Brit. Mtis. xt.
PI. 45. The vases and terracottas
which he left behind him passed, A.n.
1847, into the possession of the British
Museum {Archaeol. Ameiger, 1847,
pp. rs4 — 156). A celebrated little
"marble figure" from Smyrna, (Arch.
Zeitiing), 1849, I''- ■' came into Lord
Vernon's possession ; but it has since
been proved to be a modem fabrica-
tion in biscuit-ware.

^-'" Bullett. dcir /list. 1829, p. 30.
She had four paid workmen, while
the Papal Government placed ten
convicts at her disposal.

158 ANCIENT MARBLES IX GREAT BRITAIN. [87

at the Villa of Hadrian, and also in Rome by the baths
of Agrippa, were set on foot rather for private interests.
The booty was applied to the adorning of the princely seat
at Stowe, where nearly half a century before Earl Temple
had applied some antiques to the decoration of the famous
park**^ Even richer treasures fell to the share of Stowe
after the Duke's second journey to Italy, made in the years
1828 and 1829, before undertaking which he had joined the
Dilettanti. In Italy he partly bought old antiques and
partly obtained them from excavations instituted by him-
self on the Via Appia, at Roma Vecchia, and at the tomb
of Caecilia Metella, A sarcophagus, found in the last-
named place, served after A.D. 1837 as a coffin for the
Duke's aged pet dog, and was placed in the midst of the
flower garden. But the great curiosity of all was a funeral
inscription purporting to be that of Paris the son of Priam!"'
More modest was the selection made by CHARLES, EIGHTH
Lord Kinnaird (b. a.d. 1807 — d. a.d. 1878), during a pro-
longed residence in Rome from about A.D. 1820 to 1825. It
consisted chiefly of fragments of sculpture and inscriptions,
which were deposited by him in his mansion of Rossie
Priory*". He and the Duke of Bedford divided between them
a mosaic pavement found in the neighbourhood of Rome
in A.D. 1822. Lord Kinnaird's name is specially connected
with the Warrior's Tomb in Corneto, the chief part of the
contents of which came into his possession ; it was the first
grave found there quite untouched, and in consequence of
its discovery an impulse was given for numberless exca-
vations in the neighbourhood, some of which proved very
successful. Alexander Baring, afterwards Lord AsiiBUR-
TON ((5. A.D. 1774 — d.\X). 1848), bought single marbles, partly

*" ¥oti\.a,\i.K.,t/u- Stimie Cafa- from the Braschi collection), p. •265,

hgue, London, 1848, p. 44, no. 697, nos. 30, 31 (Hamilton), p. 271, nos.

699, p. 48, no. 748. Cf. above, note 106 (Hertz, Calal. p. i,s4, no. 56), 115

264. (Lowther, no. 108), 117.

■*■-' S/miv Catal. p. 43, no. 684, ^-^ See Cat., art. Rossie Priory,

p. •!64, no. 17 (statue of Lucius Verus

87, S8] BRITISH MUSEUM ANT) PRIVATE COLLECTIONS. I 59

in competition with the Crown Prince of Bavaria"'. JOIIN
DiSNEV inherited the old collection of Thomas Hollis, in
endeavoiu-inij to perfect which, towards A.D. 1830, he shewed
more zeal than knowledge or criticism*'^. The number of
valuable sculptures is small, while that of inferior or spurious
specimens is very large. Flaxman, Combe and Christie were
polite enough to mention the latter in terms of praise in
referring to the amiable owner. The collection — of trash
rather than treasure — was bequeathed by Disney to the
Cambridge University, while his smaller antiquities re-
mained in the Hyde. Vases and other small antiques were
collected somewhat later by Robert Henry, twelfth
Earl of Pembroke (a.d. 1791 — 1862), and by Spencer-
Joshua-Al\\'\'ne, second Marquis of Northampton
(a.d. 1790 — 185 1); coins and engraved gems by Dr NOTT*"'.
Still later, between the years 1840 and 1850, General
Ramsay formed a small collection in Rome, which came
by inheritance into the possession of Lord Murray"'.
About the same time the banker Thomas Blayds brought
home a fine collection of vases from his Italian travels, in
which was incorporated, among other things, a considerable
portion of the Pizzati collection at Florence. For a time
this collection was housed at Englefield Green, Surrey, but
in A.D. 1S49 it came under the hammer and was scattered;
a small number of specimens was obtained by the British
Museum''"".

88. The post of English ambassador at Naples was Sir
filled for many j'ears by Sir William Temple, therem^Z'
younger son of the collector. Viscount Palmerston, who had Colkciors

^-" Urlichs, Glyptothek, p. 84 of Northampton has for the most part

(colossal bust of Titus). come into the British Museum. See

*^* Museum Disneianum, London, Cat., art. Castle Ashby.
1849, fol. See Cat., art. Cambridge, ■'-''* See Cat., art. Edinburgh. Cf.

Hyde. BuUdt. deW hut., 1844, pp. 35, m.

*^ Gerhard, Archaeolog. Intelli- ■•-" Anhaeol. Zdtung, 1846, 'p.

genzblatt zur allg. Literatur-Zeilung, igs. Arch. Anzdger, 1849, PP- 97

Halle, 1833, pp. II, 14, 15, 16. Lord loi. Another part of the Pizzati col-
Pembroke's and Dr Nott's collections lection had been already sold to St
have been sold ; that of the Marquis Petersburg.

l6o ANCIEXT MARBLES IX (IREAT BRITAIN. [88

at Athens, inherited the artistic tastes of his father. The result of his
Guilford, exertions in that city, in which traffic in small antiquities
^'"J""' has always been very briskly carried on, was a collection
Ruihven. of Over fourteen hundred specimens. Among these we may
notice specially the first-rate series of smaller bronzes,
which are worthy to be mentioned beside Payne Knight's
collection. Painted vases, among which was the magni-
ficent Hippolytus vase, terracottas, glass vessels, and gold
ornaments completed the collection ; the sculptures, coins,
and other small works of art, were of less importance.
When the owner had returned home, he made over the
whole collection to the national museum, which thereby
in several departments received most valuable completion
(A.D. 1856)'"°. In Greece there was a very considerable
roll of active collectors. Athens, where Lusieri and the
French consul Fauvcl had excellent collections, offered
particularly rich booty. Contemporary with the explorers
we have just mentioned above (§ 73), the following col-
lectors must be placed : Frederick North, afterwards fifth
Earl of Guilford, Lewis Richard, third Lord Sondes,
Messrs Thomas Burgon, Sandford Graham, and Thomas
Legh"'. The first of the.se, LORD GuiLFORD (A.D. 1766 —
1827), a nephew of that Bishop of Winchester who had col-
lected antiquities in Rome (§ 59), was Chancellor of the
University of the Ionian Islands, and had been since A.D.
1790 a member of the Dilettanti Society. Fortune favoured
him particularly, for besides specimens of less value he
obtained two marbles of the first rank. These were the
fragment of an unusually beautiful sepulchral stele from
Acharnae, and the celebrated puteal with reliefs in a fine
archaic style which Dodwell had seen in Corinth, still used

*" Arch. Anzeiger, 1857, p. i-,. Icncn, Berlin, 1837, p. 26. Giah.im

It is said that Lord Palmerston, on his and Lord Sondes, see ib. PI. 35, 2,

brother's asking him what disposition 3. Millingen, Anc. Uneit Afon. i.

he desired to be made with respect to pi. 15. Legh was one of the owners

the collection, had on his part re- of the Phigalia frieze. He joined the

nounced all claim to it. Dilettanti A. u. 1816.

*''^ Stackelberg, Griiher dcr He!-

8S, 89] BKITISII .MUSKL'M .\NI> I'RIVATE COLLECTIONS. 161

as the mouth of a well, but turned the wrong side upwards,
and which'was then brought safely to Zantc. The antiques
were stored in Lord Guilford's London house (23, St
James' Place), which, having been sold at his death with
almost all it§ contents, was forty years later pulled down.
The fate of the rest is veiled in obscurity. The sepul-
chral relief has re-appeared at Lowther Castle, but, in
spite of all inquiries, not the slightest trace has as yet been
discovered of the sculptured puteal, a specimen of high
importance to the history of arf"^ A few works of art
obtained by Dr MacmichaeL in Athens, and brought
by him to England, have vanished in the same manner "I
The collection of THOMAS BURGON was rich in smaller
works of art, not solely of Athenian origin. It contained
an old Panathenaic prize vase, the only one which has
been discovered on Attic ground, and some remarkable
terra cotta reliefs from the island of Melos, which have at-
tained a high degree of celebrity ^'\ Somewhat later Ladv
RUTHVEN, who lived for a long time at Athens, had a
number of tombs opened near that city, and obtained in this
manner a fairly considerable collection of painted vases,
which are preserved, with some sepulchral reliefs, in
Winton Castle"^

89. Among English rallectors who were active in Other
parts of Greece other than Affiens, particular mention must Tit^aZL
be made of Percy Clinton Sydney Smythe, sixth {f'^

Mrang-

Viscount Strangford (a.d. 1780— 1855), who ixomford,
A.D. 1820 to 1825 filled the office of ambassador to the Wood- '

house.

■"- Lowther, no. 37. Dodwell, The ( ountr -seats of the family are

Class. Tour, it. p. 200, note 6. Ger- \V.ildersh.ire Park, near Dover, and

hard, Hyperbor. root. Sludien, II. Berl. Glenliam H.ill, Suffolk.
1852, p. 303. Stackelberg, Graher, "3 Stackelberg, Grdber, PI. 3, 2;

E.L I'Z. 3. TThe facts given in the text 18,1.

concerning the house are derived from *'^* Millingen, Anc. Uned. Mon. i.

a letter by Baroness North to Lady PI. i — 3, II. PI. j, 3. Stackelberg,

Sheffield, communicated through Mr Graher, PI. 11, 2; 16, i ; 45, i; 50, i ;

Newton. What can have become .56, i ; 63, i ; 66, i. The collection

of the fraits of Lord Guilford's ex- was bought A. D. 1842, after Burgon's

cavations in the temple of Zeus at death, for the British Museum.
Olympia (Gerhard, /. cit. p. 306)? *" .See Cat., art. Winton Castle.

M. C. II

l62 A^■CIENT MARBLES IN GREAT BRITAIN. [89, QO

Porte. Among other purposes he utih'zed his residence in
the East for founding a fine collection of antiquities, part
of which he presented to Canterbury. This section con-
sists chiefly of terra cottas from various islands in the
Archipelago, and they are not all free from suspicion. The
marbles were far more valuable, though few in number.
Two among them, an archaic statue of Apollo after a style
allied to the Aeginetan, and the fragment of a copy of the
shield of the Athene Parthenos of Phidias, became famous
soon after they had passed by bequest into the possession
of the British Museum"^. The excellent numismatist H. P.
BORRELL collected in Smyrna. He by no means limited
himself to coins, not rejecting other small monuments, such
as terra cottas and gems^". Finally, in the west of Greece,
in Corfu, the rich merchant James Woodhouse, who for a
time held an appointment in the government of the Ionian
Islands, was busy for nearly half a century in forming a very
remarkable collection. He controlled the market for antiqui-
ties on the island and on the opposite mainland almost auto-
cratically, and besides this he was often gratified by presents.
Greek coins formed the staple of his collection, but gold and
silver ornaments, bronzes, glass vessels, sculptures, vases, and
terra cottas, as well as very valuable inscriptions, were not
wanting. In the year 1866 he bequeathed it all to the
British Museum, which however, even after prolonged litiga-
tion, has never come into possession of the entire legacy"'.
Collectors go. If we turn back again from Greece and Italy to

in L&naon.

Edwards, England, we shall find yet a further group of amateurs
Chinncry, '^^^o have recourse principally or exclusively to the art

Coghill,

■"^ See Cat., art. Canterbury. 1833 for ;^i,ooo, some other antiqui-

Archaeol. Anzeiger, 1864, pp. 163, ?86. ties at the sale A. D. 1852.
Mon. Ined. delf Inst. IX. PI. 41. ■'^' Y,A\szxA%, Lives of the Founders,

Arch. Zatiing, 18&.S, PI. 196. The 11. pp. 702 — 705. Cf. the parlia-

niarbles were long hidden in a cellar, mentary papers for A. D. 1867 : Cor-

when they were discovered by Mr resfondcnce as to the H'oodhouse-Col-

Newton. lection of Antiquities. Appendix to

■'•'" E. g. Welcker, ^//i? ZJOT/tm. 11. " Correspondence," S^c. Report front

PI. \2, 10. Archaeol. Zeitnng, 1849, the Select Committee on the Woodhouse-

PI. 6, 3. The collection of coins was Collection. Archaeol. Anz. 1866, p.

bought for the British Museum A. D. 160. Archaeol. Zeituug, i868, p. 76.

go] BRITISH MUSEUM AND I'KIVATli: COLLECTIONS. 163

market at home in the formation of larf^cr or smaller col- EnclefiM,
lections of antiques. Ample opportunities were afforded siad,-',
by the numerous sales which took place about the end of ''■^'
the last century and the beginning of this. In this way
the bookseller, J. Edwards, formed a good collection of
vases in London, the gem of which came from the Cawdor
sale, and was ornamented with a scene from the legend
of Pelops, found at Lecce in the year 1790. This large
amphora had first belonged to the King of Naples, had
then been bought by General Oudinot and sold to Lord
Cawdor for a thousand guineas ; at the sale of Edwards'
collection (A.D. 18 15), it came into the hands of Soane*^.
In the year 1812 the marbles of the Rt. Hon. Edmund
Burke*", and the mixed collection of marbles and vases
belonging to Messrs W. and G. Chinnery"', were put up
to auction ; and some years later the same fate befel the ex-
tensive collection of vases which had been formed originally
by the Neapolitan Lalo, then purchased by the Cavaliere de
Rossi, finally bought by SiR jAMES COGHILL, and increased
by further purchases in Naples. This collection has become
particularly well known through Millingen's publication"^.
It contributed, along with the Cawdor and Chinnery sales
and other sources, to the formation of a choice cabinet of
vases, that, namely, of Sir Henry Englefield, during
many years a member of the Dilettanti Society (elected
A.D. 1781), and for fourteen years its secretary. Sir Henry's
choicest specimens have been engraved in a style of much
elegance by Heniy Moses *". The most singular of these

*'' Goede, England, Dresden, **^Oamnery,yX., Museum Marbles,

t8o6, IV. p. 7. Collection of fitie II. PI. 21. Chinnery, G., Moses,

Greek vases of y. Edwards, London, Englefield Vases, PI. 4 — 12.

1815. Moses, Collection of Antique **- MiWingen, J., Peintnresaniif lies

Vases, PI. 23. Millin, A/on. ined. 11. de Vases grecs de la collection de Sir

PI. 14. Peintiires de vases, i. PI. 34, yo/in Coghill, Bart., Rome, 1817, fol.

49> 50. 66. Archaeol. Ameigcr, 1864, Moses, Englefield Vases, PI. 15 — ^8.

p. 165. Millingen, Anc. Uned. Mon. Payne Knight was also one of the

I. PI. 1 8, publishes a vase belonging Ijuyers ; see Catal. of Vases Brit.

to Mrs C. Edwards, of Harrow. Mus. nos. 609, 612.

■"" Anc. Marbles Brit. Mus. XI. "^ Vases from the Collection of Sir

PI. 23, 29, 36. Y.\\\s, Torwnley Gallery, H. Englefield, Bart., drawn and

IT. p. 22. engraved by If. Moses (40 plates).

164 ANCIENT MARBLES IN GREAT BRITAIN. [90

collections was that of the eminent architect SiR John
SOANE (a.d. 1755 — 1837). Non niultum sedmidta appears
to have been his motto in collecting ; for there is something
of everything. Along with a few choice specimens of high
value, or at least of considerable interest, there is an im
measurable chaos of worthless fragments, of all times, from
all countries, of all kinds of art, originals and copies mixed
together. All this is crammed into the narrow limits of a
private house, and is arranged in so ingenious a manner
that no corner, however dark, is left unoccupied. In this
respect the architect has achieved marvels ; nevertheless
this labyrinth stuffed full of fragments is the most tasteless
arrangement that can be seen ; it has the same kind of
perplexing and oppressive effect on the spectator as if the
whole large stock of an old-clothes-dealer had been squeezed
into a doll's house. For an appropriate situation has not
been in all cases found for even the few good specimens.
Two only are fairly well placed, the remarkable Egyptian
sarcophagus discovered by Belzoni, and the Cawdor vase
above mentioned ; in fact, many sculptures worthy of notice
are rendered quite unavailable for enjoyment and study by
their bad position. In such a shape has this cabinet of
rarities, by the will of the collector, become the property
of the State. It seems to find admirers : and certainly it
enriches London by one curiosity the more'". How far
preferable to this sort of amateurship is devotion to a single
branch of collecting, we may learn by the examples of Fox
and Slade. Felix Slade (a.d. 1790 — 1868), at very con-
siderable expense, made a collection entirely consisting of
glass, m which antique glass is very well represented, though
it does not hold the most important place. He bequeathed

London, 1S20. 410. A new and several vases from other private coUec-

enlarged edition (52 plates) appeared lions are represented: J. P. Ander-

in 1S48. The collection has been, so ton, G. Cooke, C. H. Tatham (PI.

far as I know, dispersed; at any rate, i, i, 12).

a beautiful specimen from it is in the *" See Cat., art. London, Soane

Soane Museum. In Moses' CoHec- Museum.

tion of Vases, Sfc, London, 1814,

90, 9'] BRITISH MUSEUM AND PRIVATE COIXECTIONS. l6$

the whole to the British Museum, to which he had already
made handsome presents, such, for example, as the so-
called sword of Tiberius"^ On the other hand, Major-
General Charles Fox, a grand-nephew of the celebrated
statesman, in the course of nearly fifty years, by purchases
of smaller collections and single specimens, formed a cabinet
of eleven thousand five hundred Greek coins, which by the
rarity of many of the specimens, by the abundance of the
connected series it contained, and by the excellent state of
their preservation throughout, could challenge almost any
private collection in Europe. This precious property
passed on the death of the owner to the Royal Museum
at Berlin (a.d. 1873)"".

91. Great as was the number of amateurs who ma.de Det-Nnt^ 0/
collections of antiques during the first half of our century, '^dllMant-
it is indisputable that only few of them went to work with "'"•
that magnificence which had been so much a mark of the
dilettanti of the previous century. Had such a work as
James Millingen's Ancient Unedited Monuments appeared
then, he would certainly not have had to complain of being
obliged to limit his work on account of lack of interest, and
of the difficulty of obtaining access to Some collections. As
it was, he had reason to grumble at "the disregard entertained
in this country for archaeological pursuits," a disregard
which even amounted to scoffing at antiquarian researches
on the part of some "pretended wits^"." Quid placet aut odio
est quod non mutabile credas ? In the meantime a new kind
of art-passion had become dominant. The French Revolu-
tion and the Napoleonic wars had caused an immense
number of pictures from churches and convents, public
and private galleries, to be offered for sale in all the
countries of Europe, and the lion's share had fallen to
England. The sales of the Calonne (A.D. 1795) and the

*" Franks, A. \V., Calalogiu of the *''" Friedliinder, Archaeol. Zeiliiiig,

CotlectionofGlassformedbyFclixSlaJe, 1873, pp. pg — 103.
London, 1871. 410. Edwards, /I'tra **~ ^WWxn^cn, Aitc. Uncd. iIon.,\\.

of the Founders, II. pp. 706 — 717. London, 1826, preface.

l66 ANCIENT MARBLES IN GREAT BRITAIN. [9I

Orleans (a.d. 1798) collections were, through the zeal of
enterprising art-dealers and agents, followed by further
acquisitions from Rome, Genoa, and other parts of Italy,
from Belgium and Holland, from Spain, and even from
France herself. For a long period London was continually
the scene of extensive sales of pictures from all countries ;
great collections of Italian and French origin were put
under the hammer not in Paris, but in London. By
means of such auctions and private sales, countless paint-
ings, including not a few masterpieces of the first rank,
were scattered among the many mansions and country-seats
of the English nobility and gentry, where they were not in-
frequently incorporated into collections of older standing"*.
Waagen's well-known book gives us a glance over these
treasures. Among the collectors we meet the names,
besides many others, of the leading members of the
Dilettanti Society. The fact is undoubted : dilettantism
had struck out in a new direction, and had turned from
ancient art to modern. The circumstances of the time, as
already mentioned, were as favourable to the latter as they
were unfavourable to the former ; inasmuch as Rome was
at the beginning of the century closed to the English, and
moreover watched with a new jealousy the export of her an-
tiques, coveted as they were on every hand ; while to make
acquisitions in Greek territory, which was partly under
Turkish government and partly in open rebellion, offered to
private individuals a still more difficult task. Moreover in
the domain of sculpture the modern masters Canova and
Thorwaldsen,Flaxman, Chantrey, and Westmacott obtained
the preference. — We must point out another sign of the decay
of antiquarian dilettantism. In spite of the numerous sales
at the close of the preceding century, the majority of the
antique collections that had been found in the most flourish-
ing period of the pursuit remained fixed in the hands of
the families of the collectors. But among all the collections

■■•" Waagen, Trmsures of Art, I. pp. 18 — 28.

QI, 9~] BRITISH MUSEUM AND PRIVATE COLLECTIONS. 167

that were formed in the first half of the present century,
there are on the contrary few which, like that at Wobiirn
Abbey, have survived the life of their founder. Fewer still
have been handed down in his family for more than one gene-
ration. Most were sold by the heirs on the death of the first
collector""", while even some of older date, like that of Horace
Walpole, were at this period put under the hammer"". The
antiquities of Stowe were scattered in the fearful bank-
ruptcy which overtook the son of the collector soon after
a visit paid by the Queen to his luxurious hereditary
abode, and in which was involved the loss of all his movable
property"'. Lord Guilford's collection fell completely into
oblivion. Sir John Soane converted his into a special
museum ; Disney's and General Ramsay's antiquities went
to enrich the public museums at Cambridge and Edin-
burgh; Lord Strangford's were divided between Canterbury
and the British Museum. Besides many smaller additions,
by gift or by will, there fell to the share of the last-named
museum the collections, some of them rich, of Sir William
Temple, Lord Aberdeen, Slade, and Woodhouse^l

92. Since the acquisition of the Elgin marbles and Additions
the legacy of Payne Knight, the British Museum had for 2v'v^i/j
a long time received no important addition. Isolated gifts ^'^^'"'"'"'^
had of course never ceased to come in. Some good speci- ^^y
mens were purchased at home and abroad, or obtained by Stratford

Canning.

means of exchange; for example, the Apollo from the
Choiseul-Gouffier collection (A.D. 1818), the relief of the
Apotheosis of Homer from the Palazzo Colonna (a.d. 18 19),
the torso of the Richmond Venus (a.D. 1821), the Leda and
the bronze Apollo from the Mimaut collection (A.D. 1837), a

*^' Burke and Chinnery, 1812; *" 1842, — see note 172.

Edwards, 1815; Coghill about 1818; *°' The Stowe Catalogue priced and

Englefield (?) ; Dodwell, 1837; liur- annotated l)y Henry Kuimey Forster,

gon, 1842; Millingen, 1847; Pern- London, 1848. 410.
broke, 184S; KLiyds and Hope (see *''- Aberdeen, — see § 67. Lord

Cat., art. Deepdene), 1849; Bess- Northampton's vases have also, to the

borough (note 151), i8jo; Uorrell, best of my knowledge, come into the

1852; Nott (?); Rogers, l8j6; Fox, British Museum by bequest. C(. Cat.

1873. 0/ leases Brit. Mus. no. 694.

1 68 ANCIENT MARBLES IN GREAT BRITAIN. [92

fine Satyr from the Dresden Museum (a.D. 1838). At the
same time the list of donors, among whom were Kings
George IV. and William IV. (A.D. 1823, 1834), increased con-
siderably "^ But it was not until after the year 1835 that im-
portant and homogeneous additions were made in the shape
of extensive purchases of GREEK PAINTED VASES, which had
within the preceding ten years been found in undreamt-of
numbers in Southern Etruria. The Durand and Canine
(a.D. 1836, 1837) sales in Paris offered plentiful material, and
the museum reached a culminating point on the important
acquisition of a hundred choice specimens from the collec-
tion of the widowed princess of Canino (A.D. 1843)^*.
From this time forward the British Museum could stand
comparison in this department with the continental collec-
tions of vases at Paris, Berlin, or Munich. While these
vases had the effect of throwing a new light upon the lost
traditions of Greek painting, and opening up a copious in-
sight into the mythology and daily life of the race, the de-
partment of ancient sculpture was on its part remarkably
enriched by the results of the travels of Mr, afterwards
Sir, Charles Fellows (a.d. 1799 — 1860) in Asia Minor
(a.D. 1838 — 1840)*'*°. The semi-Greek mountain country
of Lycia in particular revealed an extraordinary wealth of
remarkable monuments ; the capital, Xanthos, alone con-
tained a whole cycle of art history from the archaic epoch
to the time of the Roman Emperors. The directors of the
British Museum, among whom not only Hawkins, but also
W. R. Hamilton and Lord Northampton, trustees of the
institution, showed a keen interest, applied for a firman

453 J\ji,sntm Marbles, XI. PI. 32 — 1S36. Descr. iCune collection de vases

35, 40. Guide to the Bronze Room, peints provcnatit des fouilles de

1871, p. 12. Gyacco- Roman Sculpt. CKtrurie, Paris, 1837. Notice d'une

no. 1 59. Of other donors I mention collection de vases antiques prov. des

W. R. Hamilton, 1821, 1840; A. E. fouilles faites par feu M. le Prince de

Impey, 1825; C. Standish, 1826; Canino, Paris, 1843.

J. T. Barber Beaumont and J. S. ■"* Fellows, A Journal ■written

Gaskoin, 1836; Lord Western, 1839. during an excursion in Asia Minor,

Cf. notes 336, 339, 344. London, 1839. An account of dis-

*'^ J. de Witte, Description des coveries in L}'cia, l.ondon, i8^i.
antiques de feu M. durand, Pans,

92, 93] BRITISH MUSEUM AND PRIVATE COLLECTIONS. 169

for removing these new treasures, and Fellows himself
conducted the undertaking. In the first months of the
year 1842 the majority of the discovered sculptures were
secured for the Museum. A second expedition followed
under the personal conduct of Fellows and completed the
acquisitions*'". The Harpy Tomb, the vaulted tombs of
Pajava and Merehi (the ' Horse Tomb ' and the 'Chimaera
Tomb'), and the extensive sculptures of the Nereid Monu-
ment (next to the Parthenon the most considerable con-
nected series of Greek sculptures which was at that time
known to be preserved), were the principal rewards of their
exertions. The Lycian marbles received a distinguished
completion in the shape of eleven slabs from the frieze of the
Mausoleum at Halicarnassus, which, after being walled up for
three centuries in the fortifications of Budrum, were pre-
sented in A.D. 1846 by the Sultan to the English ambas-
sador. Sir Stratford Canning, afterwards Lord
Stratford de Redcliffe, and then by him to the Briti.sh
Museum"'. Just as the Elgin and Phigalian marbles formed '
noble memorials of the fifth century B.C., so the fourth
century B.C. was now suitably represented in the British
Museum by the sculptures of Asia Minor (not to speak of
the much more ancient Harpy Tomb); equally authentic
memorials of these great epochs of Greek art were possessed
by no other museum in Europe.

93. Archaeological interest during the next following Disemieries
years was essentially taken up by the great discoveries "moT,""''
made on the site of ancient Nineveh. England received ^"^^'"^•
her share of the spoil through the combined exertions of
Sir Stratford Canning, Mr., now SiR, A. H. Layard, and
afterwards of SiR HenRY Rawlinson, who at that time
was consul-general at Bagdad. Not long after another con-
sular official earned the thanks of the British Museum by

«« Fellows, ThcXanthian Marbles, the Ionic Trofhy Mmtummt excavaUd
their acquisition and transmission lo at XantAus, London, 1848.
England, London, 1843. Account 0/ *" Mon. dell' Inst. v. PI. 18-21

170 ANCIENT MARBLES IN GREAT BRITAIN. [93

procuring for it an important addition in the department of
classical sculpture from Asia Minor. Here was a field, rich
in hidden beauties and more accessible to foreign treasure-
seekers than the kingdom of Greece, which after the con-
stitution of A.D. 1842 forbade the export of antiques.
Charles T. Newton, who had previously held an appoint-
ment in the British Museum, had filled since A.D. 1852 the
post of vice-consul in Mytilene, and had had abundant
opportunity of exploring the coasts of Asia Minor and
the neighbouring islands. In more than one place he
had already secured valuable acquisitions for the museum.
In the year 1855, while on one of his excursions, he
observed, introduced into the walls of the fort of Budrum,
a number of lions' heads, which could only have come from
the Mausoleum. The following year Mr Newton again
stayed at this same spot and made up his mind to attempt
excavations on the field of this wonder of the world. He
was successful in obtaining the co-operation of the British
Museum and of the Government in the accomplishment of
his plans. The first stroke of the spade was made on the
1st of January, A.D. 1857, and by the spring of the year
1858 almost everything had been recovered that yet re-
mained accessible of the masterpieces of Skopas and his
colleagues. Further undertakings at and near Knidos, and
in Branchidae not far from Miletus, turned out no less
successful. These researches were carried on till the middle
of the year 1859, and no fewer than three hundred and
eighty -four chests were despatched by Newton to the
British Museum. Thus among many other treasures the
museum obtained, in the sitting figures and the lions of
the Sacred Way of Branchidae, splendid examples of ancient
Ionic art of the sixth century B.C.; in the lion of Knidos a
grand historical monument of the time of Conon ; in the
Demeter (also from Knidos) a masterpiece that may give us
an idea of the style of Praxiteles; and finally in the colossal
statues and relief- slabs from the Mausoleum the much-

93, 94] BRITISH MUSEUM AND PRIVATi: COLLECTIONS. I71

desired complement of the present of Lord Stratford dc
Redcliffe. The architecture of the grand sepulchral monu-
ment was also represented by appropriate specimens*^*.
Newton was placed, A.D. 1 861, at the head of the department
of Greek and Roman Antiquities in the museum, and imme-
diately afterwards the necessary funds were voted by the
trustees to enable the architect J. T. WOOD to institute exca-
vations in Ephesus. These were begun A.D. 1863, and led to
the discovery, six years later, of the site of the celebrated
temple of Artemis. Nearly five more years of hard labour
were required to bring the remains of the temple to light.
These too have been placed in the British Museum. Be-
sides the interesting architectural remains, the drums and
square bases of columns covered with reliefs deserve par-
ticular mention as furnishing us with additional evidence
of the state of Greek art in Asia Minor about the middle
of the fourth century B.C."' Almost at the same time (A.D.
1870) the Society of Dilettanti sent the architect R. P.
PULLAN, whose abilities had already been proved at Hali-
carnassus, to Priene, that he might examine the sanctuary
of Athena Polias, dedicated by Alexander the Great, more
carefully than Chandler and his companions had been able
to do*"**. With its traditional liberality the Society made
over the rich yield of architectural and sculptured fragments
to the National Museum, which was now in possession of
the most important art treasures of the chief towns of Asia
Minor except Pergamos"'.

94. When returning from Halicarnassus (A.D. i^Sg) Sahmann
Newton had acquired in Rhodes tlie collection of ancient "^'fn^iti

458 Newton, A History of Dis- in the year 1865 yielded some further

cffvcriesat Haticarnassits^ Cnidus, and addition.

Branchidac, London, 1867, 1863, *^^ WooA, Discovaies at EpAesus,

2 vols, and plates. Travels and Dis- London, 1877.

covcries in the Levant, London, 1865, ■**' Pullan's account of his dis-

2 vols. In the year 1865 Newton had coveries will appear in a forthcoming

the good luck to purchase at Genoa publication of the Dilettanti Society,
a slab of the Mausoleum frieze (A/on. ■"" A colossal torso from Pergamos,

Ifud. deir Inst. v. PI. i — 3); still unearthed by Capl. Spratt, is in the

later some fragments in Rhodes ; also museum. See Arch. Z,eUung, 1863,

an additional excavation on the spot p. 72.

172 ANCIENT MARBLES IN GREAT BRITAIN. [94

Cesnola, pottery which had shortly before been dug up by Messrs
Porc/J"'' Salzmann and BiLIOTTI on the site of the town of
Deimis, Kameiros. This acquisition was manifestly so important

Davis.

for the pursuit of the study of the earlier development of
art, that the British Museum supported the further explora-
tions of the discoverers, and by the year 1865 a rich harvest
had been garnered. The gem of the number is a vase
painted in colours with fully developed art. Another very
remarkable specimen is a painted sarcophagus of terra
cotta"". From Cyprus, the most eastern of the Greek
islands, the museum received a sufficient series of sculp-
tures of the local school, which bear for the most part the
same character, and of which so vast a yield resulted from
the excavations carried on for many years by the American
consul, General Cesnola""'. Already during the Crimean
War there had been obtained from the museum at Kertsch
a considerable number of sepulchral reliefs in a rude
provincial style of art""*. Further booty was secured on
the north coast of Africa. The undertakings of R. M.
Smith and E. A. Porciier on the site of ancient Cyrene
(a.D. i860) furnished the museum with a respectable
number of sculptures, mostly of later date, and among
them a noble statue of Apollo""'* ; at the same time and
from the same place an attractive selection of terracottas
were obtained for the Louvre. All the more thankworthy
are the interesting discoveries of painted vases which we
owe to the zeal and skill of Messrs Werry, Crowe and
Dennis, who succeeded each other as consuls in Benghazi;
they have furnished most valuable contributions to the
history of vase-painting from the fourth centuiy B.C., par-

^''- Aug. Salzmann, Nccropok de Cesnola, f/iolosp: by Thompson from

Camiros. yournal des fouilles cxc- a selection made by A'e-wton. With an

cuths pendant les annfes 1858(5 1865, Introduction by Sidney Colvin, Lon-

Paris, 1875. Newton in The Fine don, 1873, fol.
Arts Quarterly Review, 1864, p. i. ^^* Macpherson, Duncan, Antiqui-

^^ Cesnola, General Louis Palma ties of Kertch, London, 1857, fol.
di, Cyprus, its ancient cities, tombs, *^^ Smith and Porcher, History of

and temples, London, 1877. The the recent Discoveries at Cyrene, made

Antiquities of Cyprus, discovered by in 1860-61, London, 1864. 410.

94, 95] BRITISH museum and trivate collections. 173

ticularly in the specimens of the prize amphorae contended
for at the Panathenaic games, with their deliberate imita-
tion of an archaic style, and their exact dates indicated by
the names of the Attic Archons (a.D. i866)''™. Before this,
at the suggestion of the Government, G. Dennis had dug up
an important number of valuable vases in Sicily, together
with other smaller antiquities, which Earl Russell, who was
then (a.D. 1863) Secretary of State for Foreign Affairs,
assigned to the British Museum^"'. Finally the museum
received the results of the excavations which Dr N.\than
Davis had set going on the sites of ancient Carthage and
Utica during the years preceding i860; these belong princi-
pally to the later Roman times*"*. We have thus made it
clear with what remarkable energy and consistency the
British Museum undertook and discharged the task of bring-
ing to light over the entire range of Graeco-Roman civiliza-
tion, as far as it could be made accessible to the British spirit
of enterprise, the treasures of art so long hidden in the bosom
of the earth and of exhibiting them for study and inspection
in the halls and basements of the national institution.

95. In conjunction with these acquisitions, chiefly the Purchases

1 r • 1 • • 1 * 1 • . of Farnesc^

results of special enterprise, we must mention the additions Pourtalh,
which were made to the museum by judicious use of other c^^iTlLni
sources, particularly the sales of older collections. Not to coiUcHoits,
speak of less important purchases, which were made every
year, we notice the acquisition in A.D. 1856 of a collection
of Sardinian antiquities, articles of jewellery, terra cotta,
and glass, all of marked provincial style'"''. Again in A.D.
1864 most of those among the Farnese marbles which
had not been carried to Naples eighty years before, but
had remained in the Farnese Palace at Rome, were pur-
chased from the ex-king of Naples. Of these an eques-

«8 Dennis, Trausad. R. Soc. Lit. 1856 by W. J. Smitli, Esq.
IX. N.S. Calal. of Vases Brit. Mtis. *^ Guide to the First Vase Room,

ir. pp. 249--29;. A number of vases Brit. AIus., 1871, p. 29.
from the Cyrenaica had already, A.D. *"' Davis, Carthage and her Re-

iSs^, been presented by Dr Tonilin- mains, London, 1861.
sjn, Bishop of Gibraltar, and in A.D. '^^ Arch. Anseiger, i8;6, p. 371.

174 ANCIENT MARBLES IN GREAT BRITAIN. [95

trian statue with the head of Caligula, a very beautiful
Hermes, and the celebrated Farnese Diadumcnos are the
most important specimens, and form a noticeable com-
plement to the section of Graeco-Roman sculpture*™. The
following year (a.D. 1865) were added an excellent slab of
the Mausoleum frieze from a private collection at Genoa"',
and a very fine selection from the choice collection of Count
POURTALE.S-GORGIER, which was put up to auction in Paris
and competed for by all the large museums of Europe. It
will be sufficient to make special mention, among the
marbles, of the head of the Giustiniani Apollo, and also
to point out the fine bronzes and vases which fell to the
share of the museum"". In the year 1866 a still more
important purchase was made : this was the entire cabinet
of the Duke of Blacas, formed by two collectors of-
artistic tastes, father and son. The cabinet was poor, it is
true, in sculptures, but so much the richer in bronzes, vases,
and terracottas, and above all in engraved gems. Of
the last alone there were seven hundred and forty-eight
genuine antique examples, among them far-famed and
splendid specimens from the Strozzi collection*". About the
same time (a.d. 1865) the museum made its first large pur-
chase, consisting principally of Greek and Etruscan bronzes,
from the Roman dealer in antiquities, Alessandro Cas-
TELLANI*'"; this purchase was followed in A.D. 1873 by a
second far more extensive and important. Among the great
number r.nd variety of excellent works of art (bronzes, vases,
terracottas, marbles, etc.), we need only notice specially
the female bronze head, larger than life, from Armenia,
the small bronze relief of a man in a sitting posture from
Tarentum, the marble head of Hera from Girgenti, and the
wonderfully well-preserved sarcophagus in painted terra

*'" Graeco-Roman Sculp/ures, nos. Collection of Antiquities, 1867. Ed-

33, 45, 109, 121, 132, 134, 171. '.vards, Lives of the Founders, II.

^""' See .note 458. pp. 68g — 692. The purchase money

■"- Arch. Anz. 1866, p. 179, note amounted to ;£'40,ooo.
38, pp. 243—245. '"'■' Arch. Anzeiger, 1866, p. 245.

■*" Newton, Guide to the Blacas

95,96] BRITISH MUSEUM AND PRIVATE COLLECTIONS. I7;

cotta from Cervctri ; these will suffice to show the unusual
importance of the purchase ■"^ Before this, considerable
acquisitions of smaller antiquities, especially of bronzes,
had been made from the PuLSZKY and HERTZ collections"".
At the same time the department of coins had been enlarged
by rich additions, for example, by the gift of E. WiGAN's
collection (A.D. 1864), and by the Bank of England Cabinet
of coins and medals (A.D. 1865). No other museum in
Europe can boast such a succession of important additions,
following so quickly one upon the other. No other
museum would have been able to show year after year such
an uninterrupted series of presents, comprising sometimes
single specimens, often whole collections, but ever bearing
witness to the lively interest felt on all hands in the national
institution''". This interest was continually kept alive
through the liberality with which both every section of the
museum was thrown open to gratify the public passion for
sight-seeing, and every opportunity given to specialists
for study in their respective departments.

96. Private individuals could make no stand in com- Private

. , , , r 1 11- collectors

parison with the concentrated energy of the public museum, ofmarbu-s.
The activity of the SOCIETY OF Dilettanti relaxed ; ^j;;':^^^^^^._
though, when exerted, it proved worthy of the good old Cook, &-c.
traditions of the past century. The society supported
F. C. Penrose in his exhaustive researches on the most
beautiful buildings of Athens ; it caused Cockerell to pub-
lish in a connected form his admirable observations on the

■•" The Caslcllani Collection, pho- ••" To give only a few examples, the
tographed by S. Thompson from a department of sculpture alone exhibits
selection made by C. T. Newton, the follow-ing names of donors : Hud-
London, 1873. Murray, A. S., Aca- son Gumey, A.D. 1843; Smith Barry,
demy, 1873, p. 166. Jlhtstr. London 1850; J. Scott Tucker, i8ji; W. P.
Nruis, 1873, Nov. 1^. The acquisition Williams Freeman, 1854; S. Cham-
of a new collection of Castellani's bers H.nll, 1855 ; Society of Dilettanti,
{lllustr. London ^f^n•s, 1876, March 4) 1870 ; Greville Chester, i87'2 ; T. A.
was declined by the trustees, but B. Spratt. In the department of vases
individual purchases have since been the bequest of Miss Auldjo, A.D. 1859,
made from the same source. deser\-es to be specially mentioned.

^' Pulszky, 1 856, see Arch. Anz. In that of bronzes the donation of

1856, p. 271. Hertz, 1859, see note Mr Chambers Hall, A.D. 1855. Cf.

489. besides § 91 ad Jin., and note 453.

176 ANCIENT MARBLES IN GREAT BRITAIN. [96

temples of Aegina and Bassae; it sent R. P. PuIIan on that
expedition to Priene, the material results of which, as far
as they consisted of marble remains, were, as has been
narrated above, handed over to the British Museum*".
Individual members seldom became collectors, as used
formerly to be the case ; though as exceptions to this rule
we must mention the DuKE OF Hamilton and Lord de
Mauley (a.d. 1787 — 1855), a grandson of the Lord Bess-
borough who has been previously spoken of"'. We find
the former among the purchasers at the auction of the
Stowe collection (a.d. 1848), where he obtained three
splendid statues'^". The catalogue of this sale shows
plainly how (ew regular collectors there were then in Eng-
land, for most of the specimens went singly to this and
that buyer, who were apparently mere ordinary amateurs
rather than collectors properly so called. Conspicuous
among purchasers of marbles were Lady Glamis, who
bought a considerable number of busts *"', and William,
SECOND Earl of Lonsdale (a.d. 1787 — 1868). This
nobleman is one of the very few who take an important
position among the Epigoni of Dilettantism. Besides
the Stowe auction he zealously availed himself of other
similar opportunities for bringing together a collection
remarkable for the number and in some instances for the
value of its specimens. In the year 1866 Lord Lonsdale

478 Penrose, Two Letters from time in the South Kensington Museum
Athens, 1846. Investigation of the (see Cat., .irt. London).
Prituiples of Athenian Architecture, "'" See Cat., art. Hamilton Pa-
London, 1 85 1. Cockerell's work lace. In the year 1803 Alexander,
(note 341) appeared A.D. i860. It tenth Duke (d. a.d. 1852), and in
was furnished with a dissertation 1833, William, Marquis of Douglas,
by W. W. Lloyd on the proper- later eleventh Duke of Hamilton (</.
tions of the Greek temple. Pullan's a.d. 1863), joined the Dilettanti,
work is in preparation. See note **' As to the subsequent fate of
460. this collection I am not able to speak.

*^^ Waagen, Treasures, T. p. 37, Among other purchasers of marbles
mentions Lord de Mauley, fellow of I make special mention of H.M.
the Society from A.D. 1821, as a col- Q)ueen Victoria (see 'Osborne'), the
lector. The finest specimen in his British Museum, Lord Nugent (a con-
possession was the beautiful tragic nection of the ducal family of Buck-
female head from Ostia, which his ingham), W. Wakeford Attree, P.
younger son, the Hon. Ashley G. J. Norton, Mark Philipps, A. Robertson,
Ponsonby, has exhibited for a long (S:c.

9(3. 9/"] liKITLSlI MUSKUM AND rUIVAl L COI.I.IX TIONS. 177

added to his magnificent scat of Lowther Castle two
splendid galleries, which foimcd a worthy resting-place
for the antiques that had wandered so much and been
collected from so many sources. The most beautiful
specimens among them are a replica of the Knidian
Aphrodite from Stowe, and that fragment of an Athenian
sepulchral stele which Lord Guilford had once brought
home from Attica'"". In still more recent years Mr
Francls Cook has formed a collection at Richmond,
independently of another which he possesses in Portugal*"'.
The Richmond collection was formed from purchases in
Italy, France, and England, partly from older collections
and at sales, partly from the results of the latest excava-
tions, so that the cabinet, though not large, is- various, and
contains, besides single marbles worthy of remark, some
noticeable bronzes and gems'"'. Admiral T. A. Spratt,
of Tunbridge Wells, possesses a few marbles, the fruit of
personal travels in Greece, and has moreover by repeated
presents earned the gratitude of the British Museum'"^". A
number of sculptures from Asia Minor, belonging to Mr
George McLeay, are deposited in the South Kensington
Museum during his residence In India'"".

97. Besides the marbles many bronzes were put up Collectors
at the Stowe auctions, among the purchasers of which "^uT^",",.
B. Hertz is particularly conspicuous. For many years ^j'"'.
he had been a zealous collector of smaller antiquities, not Forman,

Auliijo

only Greek and Roman, but also Oriental and American. d~=<-. '
His collection, which was begun soon after A. D. 1S30, and of
which a catalogue appeared in A.D. 1851'", was particularly
rich in engraved gems, containing more than seventeen

<^ See Cat., art. Lowther. '«' Catalogue of the Collection of

*^Archaeol. Zeilung,l^(,9,,^p.i^. Assyrian, Babylonian, Egyptian,

*** See Cat., art. Richmond. Greek, Etruscan, Roman, Indian,

*" See Cat., art. Tunbridge Peruvian and Mexican Antiquities,

Wells. Cf. notes 461, 477. formedhyB. Hertz, London, 1851, 410.

** See Cat., art. London, South Cf. Archaeol. Atiz. iS;i, pp. yi— 06,

Kensington Museum. 107 — 120.

.M. C. ,j

I/S ANCIENT MARBLES IN GREAT BRITAIN. [97

hundred specimens of Greek, Etruscan, or Roman origin ;
next to them we must mention the bronzes and the articles
in ivory, glass, etc. ; while other classes of monuments, such
as sculptures and vases, were less numerously represented.
At that time however Hertz had by no means completed
his collection. It was constantly receiving fresh additions,
particularly of gems**", till in the year 1856 he made it all
over for twelve thousand pounds to an association of Liver-
pool merchants, at the head of which stood the wealthy
silversmith, Jos. MAYER. It was the intention of the pur-
chasers to present the complete cabinet to their native
city, but either differences of opinion, or the unfavourable
circumstances of the times, led to a dissolution of the
Society two years later. The collection was put up to
auction in London (a.D. iSsg)****, and scattered far and
wide. Among the buyers were the British Museum and
some private collectors, Forman, Fortnum, Rhodes, and
others ; very little was bought in by Mayer himself. He
was, however, already the owner of a very extensive col-
lection, of which classic antiquities formed the least im-
portant ingredient. Its great feature was a remarkable
series of ivories, which originated from the famous Fejervary
collection, and which had been sold to Mayer by Franz
Pulszky^''". All this rich museum, which was said to have
cost him eighty thousand pounds, the excellent man, who
has been compared to the Fuggers at Augsburg or to the
Medici, bequeathed to his native town as the founda-
tion of a public collection. LORD CadoGAN (A.D. 1783 —
1864) and Lord Londesborough (a.D. 1805 — 1860) were

*^ Arc/i. Anz. 1854, pp. 432, 433. property of Joseph Mayer, Esq., oj

At the Rogers sale, too (1856, April Liverpool; 7vhich will be sold by atic-

and May), Hertz was a principal Hon, February, 1859. (It is in

purchaser. essentials the older catalogue.)

■"*» lb. 1856, p. 271. I am «» Pulszky, Catalogue of the

indebted for several details to a Fejirvdry Ivories in the Museum of

verbal communication from a sure Jos. Mayer. Liverpool, 1856. Arch.

source. Catalogue of the celebrated Anz. 1856, p. 271. Cf- 1854, pp. 431,

and loell-knowii Collection of Anti- 472. See Cat., art. Liverpool.
quities, formed by B. Hertz, now the

97.98] liRITISII MUSEUM AXn PRTVATE COl.I.I-XTIONS. 1 79

collecting bronzes and gold ornaments'''" about the same
time. Mr H. Forman in London was also a zealous col-
lector of objects in bronze and glass, and other minor
antiquities, as well as of painted vases; he availed himself
with great skill of the Rogers and Hertz sales, and of other
opportunities of the antiquarian market'"''. The collection
of Mr C. D. E. P\)RTNUM at Stanmore Hill was formed
from similar sources, and is rich in bronzes and particularly
in rings''°^ Mr Auldjo's ruling passion was for painted
vases, and his collection afterwards fell to the share of the
British Museum. One of its principal ornaments, " the
Auldjo vase," is a glass vessel with reliefs, something like
the Portland vase***. But it would be labour spent in vain
to trj' to enumerate the numberless collections of smaller
objects. As has been well remarked by an observer who
for a long time had opportunities of closely watching the
course of art matters in England, "The numerous travellers
in Ital)-, Greece, and Asia Minor constantly bring home
such objects as mementos, but they do not form large
collections, and the ne.xt generation sells them to art-
dealers apd jewellers'"''''."

98. "The next generation" — these words precisely hit Perils of
the danger which is inseparable from private collections. ^j//™,^„_
At the beginning of the seventeenth century the stream
of classical dilettantism had poured into England for the
first time, issuing from a single rich source, and in strength
sufficient to bear down powerful hindrances that opposed
it. During the last century this stream flowed through the
whole country, carrying beauty and fertility everywhere.
Its main current, to pursue the metaphor, has now been
turned aside into another bed, and its diverging branches
trickle in rivulets unobser\ed, till they arc finally lost in

<»' Arch. Anz. iS.^, p. 433, 1856, "' See Cat., art. Stanmore Hill,

p. ■271, where also other collectors and *^* Waagen, Treasures, I. p. 37.

traders in objects of art are mentioned. Cf. note 477.
Cf. note 242. ■•»■• Pulszky, Archaeol. Aiiz. 1854,

*"■' See Cat., art. Pippbrook House. p. 434.

12 — 2

l8o AN'CIENT MARBLES IX GREAT I'.RITATX. [98, 99

the sand, or leave only puddles of stagnant water to be
seen. Any one who observes the collections at country
houses with unprejudiced eyes, cannot fail to notice on how
few of them the glance of the present possessor rests with
real affection, and how different are his feelings to those
of the amateurs who collected them. In one house the
marbles stand in dark rooms like warehouses; in another
they are perishing in a damp summer-house ; in a third
they lie about disorderly in the corners; many collections
cannot be found at all. Let the stranger ask for "the
sculptures," a sound which would have been familiar
enough in the last century ; too frequently he will receive
from the housekeeper, who is acting as cicerone, the counter
question : "What are sculptures ? I do not understand you;"
or perhaps the slighting answer: "O yes! there are some
marbles of the kind." Is it an unfair inference to think we
may detect in this an echo, perhaps exaggerated and dis-
torted, of the small appreciation which the owner himself
feels for such things .■* Without much alteration we might
apply to the modern public of Great Britain the words
once spoken by Horace of the Greeks, and say :

Marmoris aut eboris fabros aut aeris amavit ;
Suspendit pkta voltiim mentemquc tabella.
Nunc tibicinibus gaudet gaudetqiie tragoedis.
Nunc athUtarum studiis, nunc ardet equorum.

The safety of the costly collections seems endangered in
such an altered state of feeling, for every death, every
change whether in the person or the taste of the possessor,
makes them the sport of blind chance, as has so often been
proved by experience, and much oftener in the later than
in the earlier years of this century. The treasures can only
be quite safely secured from such dangers by being placed
in the shelter of a public institution.

Evils of 99. A second point of view is here presented to us.

co'licctions. ^^ ^'^^ '" '^he very essence of art that its works are not
created for the enjoyment of a few chosen spirits alone,

99] liKiriSlI ML'SEL'.M ASH I'KIVATE COI.I.KCTIONS. iSt

but have a wider and higher mission of culture, to exer-
cise a refining and ennobling influence on the public at
large. The owners of art collections have but seldom
shrunk from the duty such possessions involve; we need
only remember the museums and galleries of Rome.
The institution of certain "show days" on which the
public are marched in troops at double quick time past
the works of art, and the kindness of the owners in
granting permission for more intimate inspection to a
select few who wish to devote special study to the sub-
ject, are both in their way deserving of our thanks ;
}'et they very inadequately redeem the debt which is in-
curred by the mere ownership of such noble collections.
This unfortunate state of things is felt all the more in
England, because here the collections are not, as in Rome,
Paris, and most other countries, kept in the town-houses
of the noble and wealthy (Lansdowne House is quite a
rare exception), but, removed from the smoky, foggy atmo-
sphere of the capital, are scattered through the land to
adorn its charming country-homes. Who would blame the
possessors for this .' The same plan was followed in ancient
Rome, and villas were in the same way honoured above
town residences. But there too this condition of things
was felt to be an evil. We are told of the grave Agrippa,
the greatest statesman of the Augustan age, that in a
brilliant speech, worthy of Rome's foremost citizen, he urged
that all paintings and statues should be handed over to the
State, as a far fitter course than that they should remain
banished in country villas'"'. If only some influential
politician, endowed with the eloquence of a Brougham,
would take upon himself the same task in England ! He
might point to the lofty duties which art-ownership brings
with it; to the dangers which threaten private property;
to the small sacrifice which would be entailed on many
owners if they would forego in favour of the community
"« riin. .\',il. //in. xx.w. 26.

1 82 ANCIENT MARBLES IN GREAT BRITAIN. [99, lOO

their private rights in possessions which they regard,
like other antiquated house-furniture, rather as cumbersome
heirlooms and survivals of an obsolete fashion than as a
source of real artistic pleasure. It will of course be under-
stood that what has been said does not apply to all col-
lections. For example it would be a matter for regret if
the well-lighted sculpture-gallery in Woburn Abbey, the
Pantheon in Ince Blundell Hall, the noble hall at Deepdene
with its surrounding galleries, the cloister at Wilton House,
or the niches in the saloons of Holkham Hall and Lans-
downe House, were to be shorn of their beautiful marbles; nor
should we like to think of the comfortable rooms of Newby
Hall without the attraction for the eye which is supplied
by their antiques. But there are many other collections
not placed amid such favourable surroundings ; and the
guardians of such treasures should above all things think
betimes of the duty entailed upon them. Very forcibly
is this duty brought home to us in Horace Walpole's
melancholy observation, which we must cite once more,
"how insecure is the permanency of heirlooms !"
Passing of loO. We need not recapitulate here the long roll of
coUathiis names, increasing every year, which is inscribed in the
into puhhc JjqqI^ of benefactors at the various public museums. No-
thing appears more striking and imposing to the stranger
who visits the British Isles for the first time, than the
number of public institutions of every kind, schools, hos-
pitals, etc., which on the continent would be established
and supported by the State or by the community, but
in England owe their existence to the energetic help and
cheerful self-sacrifice of well-to-do private individuals.
In the same way the antique collections at O.xford and
Cambridge, Liverpool and Edinburgh have arisen and
flourished. The bequest of a single collector, in conjunc--
tion with a parliamentary grant, was the origin of the
British Museum. The State has ever since liberally de-
voted regular as well as extraordinary subsidies to this

cunis.

lOoJ liRITISll MUSKUM AM) PRIVATE COLLIXTIONS. 183

grand national institution. With signal success it has re-
commended its diplomatic representatives in classic lands
to keep the interests of the British Museum ever before
their eyes, and it has libcralh- supported their researches.
Not unfrequently officials have been chosen with special
regard to their capacity for such work. Finally, the State
has taken care that the management of the great institu-
tion should only be entrusted to the most capable hands.
At the same time the zeal of private individuals has al-
ways kept pace with the fostering care of the Government.
Legacies and presents, generosity in every form, play a
large part in the history of the museum. It might be
thought that since the State is so active in the matter, the
help of private individuals would be less necessary to this
institution. As to this we may draw attention, by way
of example, to one point which bears directly upon the
subject of' this work. The directors of the museum give
the preference, quite naturally and with perfect right, to
the original Greek sculptures of the most flourishing periods
of art, which came into the possession of the museum more
than sixty years ago, and the number of which has been
ever since increasing. But perhaps in thus acting thc}-
somewhat neglect the less favoured epochs of antique art.
This is especially true of the after-bloom of Greek art,
which is still so rich in invention, and which fills up the
centuries of the Hellenistic or Alexandrian era, and lays
the foundation for the development of Roman art. It is
no less true of the imitative as well as of the national art
of Rome herself, which includes many copies or variations
of older works, the originals of which are lost to us. These
are works of second or third rank, but cannot be dispensed
with for filling in and correcting our survey of the de-
velopment of ancient sculpture. The treasures hoarded in
the private collections of Great Britain would precisely
fill this gap, and would make up for the reserve exhibited
by the directors of the National Museum as to the acqui-

184 ANCIENT MARBLES IN CHEAT BRITAIN. [lOO

sition of copies and minor works. For all the marbles
contained in private galleries belong, with unimportant
exceptions, to this class of Graeco- Roman sculpture. Ma)'
a noble emulation on the part of individuals make ever
greater and greater efforts to remedy such defects as still
exist in the public collection, so that the latter may, out
of its own means, continue to pursue the highest aims
exclusively, and acquire nothing but the genuine master-
pieces and corner-stones of Greek art ! The author of the
present work would desire nothing better than that the
following Catalogue should soon be pronounced out of
date, and should only remain as a kind of sepulchral
monument of the private galleries of antiques in Great
Britain ; that a great part of the collections it enumerates
here should vanish from its lists, while the names of
their owners should be inscribed in letters of gold on the
roll of donors to the British Museum.

APPENDIX.

LETTERS OF SIR THOMAS ROE.
Extracts fro.m

'■The Negotiations of Sir Thomas Roe, in his Embassy to the
Ottoman Porte, from the year 1621 to 1628 Inclusive."
London, 1740, fol.

I (p. 16).
Copy to my Lord of Av.i]^m'.\., Earl Marshal.

My Lord,
I receiued your lordships letter in the Downes; and though
my imployment bee the other end of the circle, to attend new
things; yet myne owne inclynation is curious enough, to my
meanes, to look back upon antiquity, and some learnings lost and
decayed, rather, as I think, ex industria, then by the moth of
tjTiie; in which opinion the little examination I haue made in
these parts, confirms me hereby I find no difficulty in pro-
curing such reliques, if I could discouer them But now I

desire only to giue your lordship an accompt of the care I haue of
your lordships commands. I moued our consul, Richard Milward
at Scio, whom I found prepared and ready. Wee conferred about
the maid of Smirna, which he cannott yet obteyne, without an
especiall command. I brought with mee from Messina, the bishop
of Andre, one of the islands of the Arches, a man of good learn-
ing, and great experience in these parts. Hee assured mee, That
the search after old and good authors was vtterly vaine Con-
cerning antiquities in marbles, there are many in diuers parts, but
especially at Delphos [Delos], v-nesteemed here; and, I doubt not,
easy to be procured for the charge of digging and fetching, which
must be purposely vndertaken. It is supposed, that many statues
are buried, to secure them from the enuy of the Turks; and that.
if leaue obteyned, would come to light, which I will endeauour as
soone as I am warme here. Coynes wilbe had from Jewes, but

l86 APPENDIX.

very deare when enquired for. Two are giuen me by Dominico
to present to your lordship, which I haue deUuered Antony Wood,
captain of the Rainbow; the one gold, is of Alexander; the other
is brasse, and very antient, of a queen of Seruia, with hierogly-
phicks now unknowne. I haue also a stone taken out of the old
pallace of Priam in Troy, cutt in horned shape; but because I
neither can tell of what it is, nor hath it any other bewty, but
only the antiquity and truth of being a peece of that ruined and
famous building, I will not presume to send it you; yet I haue
deliuered it to the same messenger, that your lordship may see it,

and throw it away I am a louer of those vertues which haue

made mee Your Lordship's Seruant.
Constantinople, 27 Jan. 162 1 [1622].

2 (P- 154)-

Extract of a Letter to my Lord <y Arundell.

Constant, ^j^ Maij, 1623.
My Lord,

I haue receaued from your lordship two fauours, in that you
please to command mee any seruice : and though these tumultu-
ous tymes hinder mee from an exact performance, and such as
might giue your lordship full assurance of my readyness; yett I

doubt not you will accept of what you can The command you

required for the Greek to be sent into Morea, I haue solicited two
viziers, one after the other; but they both reiected mee, and gaue
answere. That it was no tyme to graunt such priuiledges

Neare to the port they haue not so great doubt, and therefore
I haue preuailed for another, sent Mr. Markham, assisted with a
letter from the capten bassa, whose jurisdiction extends to all the

islands and seaports hee hath so good experience in this

cuntry, that he knowes how to make vse of it I beseech your

lordship... to beleeue, that it was very difficult to procure so much;
and I hope the effects thereof will content you.

Antiquities in gold and siluer, of the antient Greeks, from
Alexander downward, and many Romans more antient, are here
to be gathered ; butt so deare, by reason the last French ambas-
sador made great search, and some Italians are ready to buy,
that I know not whether your lordship will esteeme them at such
rates. The meddels of gold, or olde quoyne, if they bee faire, and
the inscriptions ledgible, are held at twice and thrice the waight.

EXTRACTS FROM ROF.'S I.ETTICRS. 1 87

Some, for curiosity, I haue bought, with others pretended to be
yEgiptian, Armenian, and Arabian: but my skill is not great, I
iudge only by the eye ; these shall serue your lordship, if you like
thcui.

I may also light of some pieces of marble by stealth; as now
I am ofl'ered a lyon to the wast, of pure white, holding a bulls
head in his clawes; butt the very nose and mouth is defaced, the
rest very faire, and, they say, a rantiqiia: I haue not yett seene
it, but expect it howrely, if the shipp meet it not: it was taken vp
at Lampsacum in Natolia. On Asia side, about Troy, Zizicum,
and all the way to Aleppo, are innumerable pillers, statues, and
tombstones of marble, with inscriptions in Greeke: these may be
fetcht at charge and secrettly ; butt yf wee ask leaue, it cannot be
obteyned; therefore Mr. Markham will vse discretion, rather then
power, and so the Turks will bring them for their proffitt.

I know the worth of Mr. Markham, now our consull, soe well,
that I should wrong my selfe, if in all things I gaue him not his
due

3 (P- 319, 32°)-

To my Lord Archbishop of Canterburv.

[p. 320]...! heare your grace hath written by one Mr.

Petty, that is arriued at Smirna, ymployed by my lord of Arun-
dell to buy books and antiquities. Hee will find, that barbarisme
hath worne out all the footstepps of ciuility and learning; yett
manuscripts are plenty, old Greeke books, that are litle worth;
they haue bene cerned ouer by many of good iudgment, and I
think the gleanings are uery poore. When hee comes, I will pre-
sent and assist him

Constantinople, ^"j, Dec. 1624.

4 (p. 343. 344)-

To the Duke <?/" Buckingham.

The antiquities which I conceiue your grace doth desire,

(for curiosity in newe arts there is none here) are either columns
or statues in stone, or bookes, or ancient coynes, or medalls. I
confesse my ignorance in choosing or knowing any of these; yett,
for the reuerence I beare to them, either as lights or reliques of
antient learning, or noble sciences, I haue a litle endeauored to
search, and enforme my selfe. Butt I haue found, the spight or

1 88 APPENDIX.

sordidness of barbarisine hath trode-out all the stepps of ciuility,
or, like rust, destroyed them. For columnes, the building of so
many Mahometan moschyes hath many enquiry euen into the
rubbish of all old monuments, and into the bowells of the earth;
so that there is litle to bee hoped for by industry, if chance assist
not. Statues, or figures of beasts, because they are forbiden in
their lawe, are either defaced on purpose by them, or sought for
by others, and conueyed away, so they are become very rare.
One of that kinde I heard of, beeing a halfe lyon of white marble,
holding the head of a bull in the pawes, the neck renuersed. I
sent for it a great way, to Lamsacum in Asia, vpon report ; and
when it arriued, it had no grace in my eyes; for the face was
broken off: the rest makes a showe of art, but beyond my capa-
city; for when the principall part was defaced, I thought it not
worthy any estimation. I did dessigne it for your grace, but haue
kept it two yeares, as not worth the portage, except there bee any

mistery in these things, that I vnder [p. 344] stand not Medalls

and Coynes in gold and siluer, of the antient Greeke kings and
emperours, Armenians and Romans, by chaunce I light vpon: of
those I will gather all that haue either bewty or antiquity ; and
these, and all, and all I can performe or finde, are freely presented
to your grace. Whatsoeuer I can collect, hauing now your graces
command, added to myne owne desire, shall not goe out of the
way to Venice: I knowe as well howe to send them, and haue as
much affection to serue your grace, as any man liuing. I expect
daily here the comming of one Mr. Petty, recommended by my
lord of Arundell, I think, to the same vses. It seemes, that gen-
tleman is better praticque, and may informe my judgment. With
his ayd, I doubt not to giue your grace satisfaction, either in
effects, or in industry: and I hope I am now fallen into a good
way by the help of the patriarch of this citty, who hath enformed
race of a small, despised, vninhabited island, in the Arches, a
place antiently esteemed sacred, the buriall of all the Greekes, as
yett vnbroken vpp; where, hee tells mee, are like to bee found
many rare things. Your grace may please to giue order to some
shipping, that comes for this place, (if in the meane tyme I can
procure none) to take directions of mee, and a guide from hence,
and to anchor there 5 or 6 dayes, to search it; where they may
take, without trouble or prohibition, whatsoeuer they please, if
any man of judgment to make the choyce. Hee hath also assured
mee, that Alexandria, which was once the retraict and dclicia-

F.XTRArrS FROM ROE'S r.F.TTF.RS. 1 89

Romanorum, hath )'ett about it more rare peeces, then any part
within the Leuant seas; whereof, when hee was patriarch there,
he discouered many; and, among others, a statue of a Negro, of
black marble, taken vpp whole, butt by accident a thigh broken,
the forehead inlayd with a work of gold; which hee hath promised
to procure mee, and sayes it is one of the most bewtifull figures
and stone in the world, and that hee will write thither to recouer

whatsoeuer can be gotten

Constantinople, 24 January, 1624 [1625].

5 (P- 386, 387)-
To the Duke of Buckingham.
May it please your Grace,

By conference with Mr. Petty, sent hither by my lord of Arun-
dell, I haue somewhat bettered my sckill, in such figures as your
grace hath commanded mee to seeke ; at least, hee hath made
mee more assured, to venture vpon some things, which I should
of my selfe haue little esteemed, for the defacings, either by age,
or accident ; if I committ any great error, I must excuse my selfe
vpon him, on whose judgement I relye ; yet I will, as neare as I
can, reguard the bewtye, which takes the eye, and that the princi-
pall parts bee not too much disgraced.

Wee haue searched all this cyttye, and found nothing but
vpon one gate, called antiently Porta Aurea, built by Constantine,
bewtifyed with two mighty pillars, and vpon the sides and ouer yt,
twelue tables of fine marble, cutt into historyes, some of a very
great releuo, sett into the wall, with small pillars, as supporters.
Most of the figures are equall, some aboue the life, some less.
They are, in my eye, extreamly decayed ; but Mr. Petty doth so
prayse them, as that he hath not seene much better in the great and
costly collections of I talye. Your grace, for better enformation, may
view his letters to the earl of Arundell, how he hath allowed them.
There are of them but sixe that are woorth the taking downe, the
other beeing flatt Gothish bodyes, lame, and of later tymes sett vp
only to fill place of the other sixe. Two, in my opinion, (though
Mr. Petty like them) want much of excellence, great, but brute ;
and, as I coniecture, are some storye of Hercules, not mentioned
in his labors. The fower, to which I haue most affection, are
fuller of woorke : the one is (as wee comment) an Endimion care-
lessly sleeping by his shcepc ; Luna descending from the sckye

igo APPENDIX.

with a torch in her hand, representing night ; and a Cupid houer-
ing in the ayre, to signifye her loue. This last gentleman is much
misused, and wee can only know him ; the other two want some
parts, and the faces battered ; but the generall proportions are
both braue and sweete. The next is an historye I vnderstand
not, either of some race, or game; in the middest is a horse, a
young man naked running by yt, and reaching to pull another off.
Some other figures ther are, which I remember not; but it hath
beene a peice of great bewtye and art; the releuo so high, that
they are almost statues, and doe but seeme to sticke to the gi-ound:
some leggs, and other parts, standing holovv off, are broken and
lost; yet, in the whole, it hath a shovve of rare antiquitye. The
third is a Pegasus, with the Nimphs or Muses; one representing
the foun [p. 387]teyne Pirenne powring out water. These figures
are many, but less then halfe the life, as I judge them, not so
much defaced, standing high, and to a vulgar eye, like myne, of
most grace and pleasure. The last is a Satyre, sckipping betweene
an Hercules, or a wild man, and a woman, which he seemes to
auoyd: the one hath a whip in his hand, the other a pott of water
held behind her, and may signifye a rescue from rauishment : these
are aboue the life, and rather great and stately, then delightfull;
but generally they haue all suffered much uiolence, both by
weather and spight : yet they are so well esteemed by this gentle-
man, that I will endeauor to get them. Promise to obteyne
them I cannot, because they stand vpon the ancient gate, the
most conspicuous of the cyttye, though now mured up, beeing the
entrance by the castell called the Seauen Towers, and neuer
opened since the Greeke emperors lost yt: to offer to steale them,
no man dares to deface the cheafe seete of the grand signor: to
jirocure them by fauour, is more impossible, such enuy they beare
vnto us. There is only then one way left; by corruption of some
churchman, to dislike them, as agaynst their law; and vnder that
pretence, to take them downe to bee brought into some priuat
place; from whence, after the matter is cold and unsuspected, they
may be conueyed. I haue practised this for the foure, and am
offered to haue it done for 600 crownes. To send them home
chested, and freight, with some other bribes att the water syde,
may cost 100 more. This is a great price, and yet I rather des-
payre of obteyning them.

I haue sent to Angory [Ankyra] in Galatia, the seate of Midas;
and Mr. Petty is going to search some other parts of Asya, with

EXTRACTS FROM ROE'S EETTERS. 191

commands; he may discouer and choose, but can hardly bring
any thing away: that 1 must doe by tyme. On the other syde,
without his directions, I may committ great errors. Therfore,
that wee may not preuent one the other, I haue mooued him, and
he is well content, yf your grace and the earle marashall aj)prooue
yt, to joyne, and whatsoeuer both can recouer, to putt into one
stocke; and so to diuide them, when they come into England, by
lotts, or any other way that shall seeme best to your grace : our
meaning is such things as both shalbe interessed in, he by dis-
couerye, I by procuring: in this poynt I humbly desire an an-
swere. The blacke statue from Alexandria, and some other that
I hope to prouide alone, your grace will accept from your ser-
uant. ...

Constantinople, j\ May, 1625.

6 (P- 433> 434)-
To the Duke i?/" Buckingham.
May it please your Grace,

I shall render a barren reckoning of your command laid vpon
mee to prouide your grace some antient statues; yet I had rather
giue you any account of my endeauour, then by long silence to
deserue the imputation of negligence. That which hath discou-
raged mee, is the failing of my promise for the black goddesse
from Alexandria; which beeing giuen mee by the patriarch, confi-
dent it was yet in his garden, I sent for, in company of his ser-
uant ; but beeing retorned, they haue only discouered, that a
colloire left in that charge had sold it 18 moneths since, to the
French consul!, for 30 dollers, who hath transported it into France,
to the exceeding displeasure of the patriarch, and my shame. Yet
I thought it fitt to aduise your [p. 434] Grace thereof: perhaps you
may there recouer it at no great charge, beeing esteemed the Jewell
of all the stones in this part of the world.

I haue not left any probable city vnsearcht into, and heare of
diuers peeces; but what they will proue, I cannot yet iudge. Some
I am absolutely promised, but nothing entire; halfe bodyes, heads
and bustos. In Salonica a Jewe hath a whole marble, and antient:
I haue procured letters to the metropolitan to buy it, if mony
will preuail. From Angora I am in hope, at least, of a faire lyon.
These on porta aurca will not bee remoued : no man dares aduen-
ture to steale them from the principal! gate, nor any fauorite of

192 APPENDIX.

the vizier presume to mention the defaceing of the wall : yet I will
not leaue to hope, by some art they may bee made dropp, and
that so I may gather them. Mr. Petty hath bene at the so much
famed Pergamo, and brought somewhat away, as hee writes,
meane things, not worth his charge, only as testimonyes of his
trauailes; but hee is a close and subtill borderer, and will not bragg
of his prizes. From thence hee is gone forwards into the islands,
and hath this aduantage of mee, that hee makes search with his
owne eyes, and is not sparing to spend, when hee finds content;
though hee shall not out-buy mee, if wee fall in competition. Some-
what your grace may expect with patience, that is, all that I can
find or procure; which you will accept by the measure of my
ambition to your seruice. . . .

Halchys, 26 August, old stile, 1625.

7 (P- 444, 445)-
To the Earl of Arundel.
My Lord,
I haue receiued recompence enough for more seruice then I
am able to doe your lordship, by your acceptance of that litle I
haue a desire to doe, expressed in your two letters of the loth
and 1 2th of May. If myne, of the first and 25. of the same
moneth, bee arriued, I hope they haue giuen your lordship more
satisfaction : since which tyme I haue bene able to doe nothing
here, beeing fled vntill the last weeke, from the great contagion,
that hath carried away in this citty, and the suburbs, neare 200000
people. Mr. Petty this wile hath visited Pergamo, Samos, Ephesus,
and some other places; where he hath made your lordship greate
prouisions, though hee lately WTote to mee, hee had found nothing
of worth. Your lordship had good experience in a man for such an
imployment, that spareth no paynes nor arts to effect his seruices.
When hee departed, I hoped wee had bene ioyned, and that hee
would haue acquainted mee freely with his proceedings: but hee
hath therein deceiued mee; for I now perceiue, your lordship (by
way of preuention) hath resolued to bee alone; and Mr. Petty, in
this space, hath preuented mee, vpon confidence, to haue sent one
with or before him, and hath aduised mee, hee can find nothing.
I am so assured in your lordships integrity and wisedome, as I
dare write you playnly according to my nature. I haue done for
Mr. Petty whatsoeuer was in my power, by giuing him forceable

EXTRACTS FROM ROK'S LETTERS. I93

commands, and letters of recommendation from the patriarch. I
haue bene free and open to him, in whatsoeuer I knewe, and so I
will continue for your lordships command : but your lordship
knowing, that I haue receiued the like from his grace the duke
of Buckingham, and engaged my word to doe him seruice, hee
might iudge it want of witt, or will, or creditt, if Mr. Petty (who
could doe nothing but by mee) should take all things before or
from mee. Therefore, to auoid all emulation, and that I might
stand cleare before two so great and honorable patrons, I thought
I had made agreement with him for all our aduantages. There-
fore wee resolued to take downe those sixe mentioned releuos on
porta aiirea, and 1 proceeded so farre as I offer'd 600 doUers for
4 of them, to bee diuided betweene his grace and your lordship,
by lotts. And if your lordship liked not the price, Mr. Petty had
his choice to forsake them; but now I perceaue hee hath entitled
your lordship to them all, by some right, that if I could gett them,
it were an injury to diuide them. Your lordship shall neuer find
mee to write you an vntruth, nor dissemble the truth : Mr. Petty
did not discouer them. When I carried him to the patriarch, and
there discoursed with him, what places were like to furnish vs
with old statues; hee told mee of those ora porta aiirca, and wished
mee to goe see them, though hee thought the difficulty would bee
great to procure them. Whereupon I, hauing no skill, sent a
Janizary with Mr. Petty, to view them; [p. 445] vpon whose report
of liking them, I went with him a second tyme; and so wee
resolued to take them downe if possible; and I was not only
content, but desirous, your lordship should haue halfe : and so I
assured him, though I both must bee the meanes to gett them,
and to disburse the mony, which I would willingly doe for your
lordship. And this beeing the truth, and I remayning constant
in the same resolution, I hope your lordship will well accept it.
Since, hee WTOte mee another letter, in manner renouncing them
at that price, and aduising mee not to spend aboue 200 dollers
for all sixe. It seemes, hee beeing better prouided at Pergamo,
or willing to leaue these for a better occasion, was content I
should not meddle with them: but when I answered him, hee
knewe I had made lardger offers, and if hee refused, would take
them for my owne account, and yet in England offer your lordship
your part; hee then \vrote mee, That hee would not leaue his
interest in them, nor yet encourage mee what to spend, to procure
them: but I am sorry wee striue for the shadowe. Your lordship
M. C. 13

194 APPENDIX.

beleeue an honest man, and your seruant, I haue tryed the bassa,
the capteyne of the castle, the ouerseer of the grand signors works,
the soldiours that make that watch, and none of them dare meddle :
they stand betweene two mighty pillars of marble, in other tables
of marble, supported with lesse pillars, vpon the cheife port of the
citty, the entrance by the castle called the Seauen Towres; which
was neuer opened since the Greeke emperour lost it, but a coun-
terscarfe and another wall built before it. The vizier dares not,
for his head, offer to deface the chiefest port, so many will
clamour against him : the capteyne of the castle, nor the ouerseer
of the walls, cannot doe it without a speciall command from the
grand signor : the soldiours cannot steale them, being 30 foot, and
40 foot high, made fast to the wall with iron pins; and must bee
let downe with scaffolds, and the help of at least 50 men; for if
they fall, they will breake to dust, the ground being so thinne, and
worne with age. There is then but one way left in the world,
which I will practice; and if I can procure them, your lordship
shall know my seruice by the part I send you, without Mr. Petty,
or any other helpe. Within the castle, and on that gate, is a con-
tinual! watch of 20 soldiours: it is the kings prison; and how hard
it were to take downe such things, of at least a tonne weight
apeece, from the Tower-gate of London, your lordship will easily
iudge. And if I gett them not, I will pronounce, no man, nor am-
bassador, shall euer be able to doe it; except also the grand signor,
for want, will sell the castle.

After all these disputes for nothing, Mr. Petty hath aduised
mee, that retorning from Samos, where hee had gotten many things,
going to Ephesus by sea, hee made shippwrack in a great storme
vpon the coast of Asia; and sauing his owne life, lost both all his
collection of that uoiadge, and his commands and letters by mee
procured; desiring mee to send him others, or else, that hee can
proceed no further. Hee was putt in prison for a spy, hauing
lost in the sea all his testimonyes; but was released by the witness
of Turks that knew him. From thence hee recouered Scio, where
he furnished himselfe againe; and is gone to the place where
hee left his boate to fish for the marbles, in hope to find them,
and from thence to Ephesus; and this is the last newes I heard
from him. To renew commands so often, giues great jealousy
to these people, hauing taken out 3, in litle more then a yeare,
for your lordship; so that with much adoe, and by force of a
bribe, I haue again procured another, and more large, for your

EXTRACTS KKOM ROF.'S LETTERS. 195

lordship, which is nowe by niee, and shalbee sent to Mr. Petty, so
soone as I know where he is : though I haiie written to him to
leaue the sea, and to sjjend this winter with mee, where he shalbee
welcome.

In conclusion, I desire your lordship to bee assured, that as I
cannot faile of my duty to my lord of Buckingham, so I will doe
your lordship that seruice, that shall witnesse for mee my affection
thereto. I will in all things assist Mr. Petty, and seeing I must
goe alone in this business, I will search all Asia, but I will find
somwhat worth my labour. My mysery is, vsing others, I must
take bad and good; and I haue things sent mee from diuers
places, figures indeed, that cost mee much, but not worth the
portage. When I haue done my best, and alone, your lordship
shall haue somwhat from mee, that you shall knowe I would haue
dealt fairely, and that 1 had a syncere purpose to meritt your
lordships fauour....

Constantinople, §5. October, 1625.

8 (P- 495)-
To the Earl (?/" Arundell.
Afy Lord,
My last letters brought your lordship the aduice of Mr. Pettyes
shipwracke, and losses vpon the coast of Asya, returning from
Samos: his commands and letters of recommendation, and his
labors, togither there perished. The first I presently renewed,
and sent them to Smyrna; and the other, I thincke, he hath by
great industrye, since recouered. From that tyme, what aduentures
he hath passed his owne enclosed will giue best satisfaction; and
it shall suffice mee to say in gross, that, although he will not
boast to mee, yett I am informed hee hath gotten many things,
rare, and antient. Ther was neuer man so fitted to an imploy-
ment, that encounters all accident with so unwearied patience;
eates with Greekes on their worst dayes; lyes with fishermen on
plancks, at the best; is all things to all men, that he may obteyne
his ends, which are your lordships seruice. He is gone to Athens,
where also I haue sent; and from thence promiseth mee to visitt
this citty, wher I shalbee glad to enterteyne him, and to know the
history of his labors. I haue in my endeauour bad success, by
the ignorance of those that 1 am forced to employ, who send mee
heauy stones at great chardge, that prooue newe images, wher I

13—2

196 APPENDIX.

seeke old idolls; for such also were the Roman statues of their
emperors. From Angory I had an hal-woman, brought 18 dayes
by land, vpon change of mules, which wants a hand, a nose, a
lip; and is so deformed, that shee makes me remember an hos-
pital: yet the malicious Turkes brought troubles on the buyers,
by a false command, accusing them of a great wealth stollen out
of the castle; it hath cost mee money to punish them, and that is
all I haue for my labor. I haue sent three seruants togither to
Tassos, Caualla, Philippi, and all the coast of Thrace; followed
Mr. Petty to Pergamo, and Troy; am digging in Asya; and, to fulfill
the prouerb, turning of all stones. Somwhat I hope to gett, to
saue my creditt; but I dare not write to his grace, vntill I am in
possession: so often I haue beene by Greekish promise deceiued.
Those on Porta Aurea stand vp, ready to fall, in spight of all my
arts, and offers; the tymes are so dangerous that I dare not uen-
ture to entreague others; but ther is an opportunity attended to
make them stoope : the glorye of taking them from the gate of
Constantinople inciteth me farther then any bewtye I see in
ruines, that only showe their was once bewtye, good embkmes of
one that had beene a handsome woman, if an old woman were
not a better; yet few loue them. When I haue made my collec-
tion, I will not forgett that I was engaged by your lordships com-
mands; as I am assured your lordship will not grudge mee to
performe the seruice I owe the duke of Buckingham, betweene
whom, and your lordship, if ther had beene an vnion, ther had
nothing beene difficult to us both here, and many things much
cheaper. . . .

Constantinople, 28. Mar. old stile, 1626.

9 (P- 511. 512).
To the Duke of Buckingham.

. . . My agents from Greece are retorned with no great fruit of
their labours, other then discoueryes of some marbles vnder
ground, which will require tyme and priuacy to take vpp, to
auoid the enuy of these people, who suspect treasure in euery
place where Christians breake the earth. I haue omitted no
search nor expence to giue your grace some testimony of my
desire to obey your first command, wherein I would not bee
judged by effects, though I doubt not also by them to bee in part
iustin^d.

EXTRACTS FROM ROE'S 1.ETT1;RS. I97

Mr. Petty, in the islands, hath gotten many marbles: hee takes
all; what they will proue, is beyond my judgment. I haue some,
but I desire not to lade your grace with vngracefull stones : they
shall haue some bcwty with antiquity which I will present; and if
there come other, they must passe in a throng, for number, not
for weight, though they bee uery heuy.

[p. 512] I haue a litle marble, a halfe woman, in releuo, excel-
lent workmanshipp, and a stone of rare whiteness and hardness,
recouered from Troy, though, I think, in those days, no such
masters, but the hand of some later Roman. It will serue for a
chimney, though it bee not a statue. A head of Germanicus from
Angury [Ankyra], whence I expect daily a whole peece, brought
vpon a litter, by fower mules. From Athens I haue no retorne;
but looke this moneth to know the success. In an island called
Augusto[?], neare Paris [Paros], in the Arches, I haue heard of two
great marbles, and haue taken a command to fetch them, by the
bishopp of Naxia. Another of Scyra hath promised mee a whole
cupid, taken vpp in Delos, of white alabaster. From Tiria
[Tenos] I expect a retorne of another factor. From Pergamo,
by the consull of Smirna. From Morea, by the merchants of
Patrass. From Aleppo and Alexandria, by the industry of Mr.
Kirkham. If all these should produce nothing, I may bee ashamed,
but not accused of negligence.

Those on Port Aurea are like to stand, till they fall with tyme:
I haue vsed all means, and once bought them, and deposed, 3
moneths, 500 dollers. Without authority, the danger and impos-
sibility were alike; therefore I dealt with the great treasurer, who
in these tymes is greedy of any mony, and hee had consented to
deliuer them into a boat without any hazard of my part. The
last weeke hee rode himself to see them, and carried the sur-
weigher of the citty walls with him ; but the Castellano and the
people beganne to mutine, and fell vpon a strange conceit; inso-
much that hee was forced to retyre, and presently sent for my
enterpreter, demanding if I had any old booke of prophesy : infer-
ring, that those statues were enchanted, and that wee knew, when
they should be taken downe, some great alteration should befoU
this citty. Hee spake of a vault vnder ground, that I vnderstand
not; which, concurring with the rumour of the Cossacks, filled
them with superstition, and suspition of mee; in conclusion, hee
sent to mee, to think, nor mention no more that place, which
might cost his life, and bring mee into trouble; so tiiat I despair

198 APPENDIX.

to effect therein your graces seruice: and it is true, though I could
not gett the stones, yet I almost raised an insurrection in that
part of the citty....

Constantinople, yg. May, 1626.

10 (P- 534. 535)-

From the Duke (/Buckingham.

...I haue likewise receiued two letters from yow, concerning
some buisines of my owne; the latter bearing date the -y^. May,
1626, wherein I find my selfe much obliged to an extraordinarie
dilligence yow haue vsd, in search of such pieces and antiquityes,
as yow guesse will be most wellcome vnto me ; and I shall
endeauour to deserue the paines you bestowe vpon me there, in
any seruice yow shall imploye me in heere; desireing a continu-
ance of your respect vnto mee in this kind, with this caution only,
that yow laye not out much money vpon any alabaster pieces,
vnlesse they be figvres of exquisite curiosity : for your antique
masters (as I am informd) neuer wrought vpon alabaster. Neither
am I so fond of antiquitye (as you rightly coniecture) to court it
in a deformed or mishapen stone; but where yow shall meete
beautye with antiquitye together in a statue, I shall not stand
vpon any cost your judgment shall vallew it att. For those other
pieces on Porta Aurea, since they cannot be compast without
difficultye and danger, I am satisfyd with the attempt of your
Industrie had vpon them; and shall hope for some other [p. 535]
rarityes that may be purchast with less trouble....

Yorke-House, July, 19. stilo vet. 1626.

11 (p. 570, 57 I j.

To the Duke (t/' Buckingham.
...I expected . . your farther order how I should proceed in
the search of marbles, which I haue found a quarry and stone
busines....For your graces command of marbles, I haue beene so
unlucky, that with much Industrie and expence, I haue yet beene
able to procure none such as, I feare, your curiositye doth expect.
Mr. Petty hath raked togither 200 peices, all broken, or few
entyre: what they will proue, 1 cannot judge. Hee had this
aduantage, that hee went himselfe into all the islands, and tooke
all hee saw, and is now gon to Athens, where I haue had an

r.XTRACTS FROM KOF.'s LETTERS. 1 99

agent 9 monethes, and haue now sent the Venice bayloes letters
to his consull their resident, to assist mee, patiently attending some
better issue. I haue foure bustoes, and some heades and peices
collected in Asya and Paris [Paros] ; but bemg left at Scio, I can-
not commend what I haue not scene. New hopes are giuen me
from Andri and Santerino, and other parts... [p. 571]...! am tyed
to a residence almost to a prison ; and my ignorant instruments
take all figured marbles, how disgraccfull soeuer, for statues, and

with them haue cloyed mee

Constantinople, -pg. Nou. 1626.

12 (P- 583)-
To the Cinuitas ()/ Bedford.
Madam^
I am glad to fjTid an excuse, and force an occasion to renew-
in your remembrance the name of an old seruant I haue

recalled my thoughts upon what your ladyship tooke the latest
pleasure, that I saw yow marshalling of antient coynes and medalls,
delighting in the records of vertuous tymes, vertuous men, and
uertuous actions; so that I haue presumed to enterteyne yow one
hower with the enclosed catalogue of such, as in this pilgrimage I
haue collected: amongst which there are some so rare, that I sup-
pose the cabinets of Paris, which muster 12000, cannot match
them. This curiositye of antiquityes, though by some seuere men
censured, hath yet diuers uses besides delight, not to bee con-
temned: they are a kind of lay humanity, teaching and inciting
deuotion to morall uertue, as well, and more safely then images
among the new Romans, to the contemplation of diuine misteries.
They propose a liuely cronologye on the one syde, and a repre-
sentation of historye, heroicque or great actions, on the other.
They carry in them a shadow of eternitye, and kindle an emula-
tion of glorye, by seeing dead men kept long among the liuing by
their famous deedes. This apologye made for the generall, your
ladyship will giue mee leaue to .say somwhat of particulars. Foure
things are required in medalls, truth, antiquitye, bewty, storye, or
poetrye : for these, the mettall is one of the best wittnesses.
Copper is seldome here a counterfayt, harder to woorke upon,

and therfore of most esteeme [p. 584] Greeke medalls,

in my opinion, as they are more antient, so they are bewiifull, full

20O APPENDIX.

of art, and most misticall in the reuerses, alluding to their sacri-
fices, religions, or warrs. I haue some rare peices, a dedication
for the health or saftye of Hercules, an hierogliphicque of the
Heathen diety, a Pallas of Athens, a head in brass, not to
bee cutt in many moderne ages, in which I read almost Agamem-
non. Most of these are great, braue, and bold figures, semiunciales,
of gold and siluer; in breife, cose di cardinale. To the contem-
plation of their inscriptions I leaue your ladyship, not doubting
yow will teach mee, when I returne, more then I can fynd of them

without helpe

Constantinople, -5— Decemb. 1626.

13 (p. 619).

To t/u- Duke (t/^ Buckingham.

I am sorry I can yet giue your grace no better account of

marbles, after a long and exquisite search; wherein Mr. Petty
hath, by his personall sckill and labour, preuented my dull instru-
ments. My agent is returned after a 9 moneths voyadge to
Athens, and the relicques of old Greece; and hath brought me
little fruict to my contentment, but some heads and small releuo's,
antient and good worke, a feast of Jupiter, and a peice of a
sacrifice, and such like. I had drawne them in paper to send
your grace, but defer it till a better haruest. I haue bought two
statues at Zia: how they will prouc, I must runne the hazard.
Some others are collected for me in the islands; but not hauing
seene them, I will not spoyle them with prayses. My last hope
is vpon another adventure to Greece, whither, vpon a new enfor-
mation of the archbishop of Lacedemon, I haue sent two moneths
since a seruant of myne owne, that hath seene many collections
in Italye, and pretends to know. I haue giuen him two rules,
beautye and hard marble. I am made beleeue that he shall fynd
braue matter, and haue furnished him with a command, the capten
bassaes letter, the patriarchs recommendation, and sufficient
creditt: and I doubt not but to bring your grace good satisfaction.
I haue two antient gates of hard white marble, wrought aFantiquo,
fiue stones a piece, the sides, head, and thresholds: they were
gotten in the islands from an old temple, and are very fayre; and
though they are not for your graces gallery, they wilbe rich and

EXTRACTS FROM ROE'S LETTERS. 20I

bcwtifull in any building. This is tlie ill reckoning I can yet giue

your grace of my industrye

[1627. February or March.]

14 (p. 647).
To the Duke of Buckingham.
May it please your Grace,
After a long and almost dispayrefull search of marbles, hidden
in the ground, I haue fallen vpon a course, which, I hope, will
fullfill your graces expectation, and pleade my humble affections,
and industrye to doe you some seruice. About 4 moneths since,
as I then aduised, I sent a seruant well furnished \vith meanes
and authority e to trauell Morea; who hath found, as he enformes
mee, some rare peices: one whole statue, 8 foote high, not much
defaced; another wanting the head, in the old famous Corynth;
and these embarked for Zant, to be there laden for England. He
hath digged to two more, then vpon price, and 1 doubt not to
haue them. A braue head, supposed of Lucius Mummius. I wish
they may answer his prayses : at least, the place will giue them
some estimation. From thence he went to Athens; where what-
soeuer is to be had aboue or vnder ground, wilbe procured for
him. From Zea, an island in the Arches, I heard last from him,
arriued there to ship away two statues, long since bought by mee,
wanting the heads; one whereof is sent to my lord of Arundell.
There are more to be gotten, if any art can take them downe. He
is now returning to Corynth, to fetch those that were at his
departure buried, and a great vrn of braue releuo, if possible to
carry yt, and a pillar with a garland, inscribed Palladc; and many
other raretyes. He proceedes to Lacedemon, to the antient
Sparta, where I heare of seauen more, and hope to possess them.
From Andros I haue receiued, at Scio, a great releuo of Bacchus;
which, vpon report, hath cost mee deare, beeing obteyned by
fauQur of the bey of that island, and mined for vnder an old
foundation; but the face is battered, the feete and one hand
broken off: the rest is fayre and statelye. From many other
places, and sundrye agents, I expect diuers other things, which
yet 1 haue not seene; and must be contented to take bad with
good, from those that, hauing no skill, yet spend my mony to
employ thcmselues. I am this day sending a drogaman, and

202 APPENDIX.

Janitzarie, with an Italian to Brussia, the antient metropolis of
Bythinia, where, I am enformed, are many marbles; and 1 attend
a returne from Sinope on the Black Sea, in Amasia. Thus your
grace will approue my dilligence, and accept the success accord-
ing to your owne benignitye. The difficultye of carriage, and
engines, and expence, is great, and the danger among these
remote habitations greater, some stones weighing aboue 20 hun-
dred, and brought by hand to the water : yet your grace shall haue
no cause to repent the charge; for I hope to make you a noble
collection.

If you please to continew this search, there willbe found dayly
many rare matters, the poore people being sett on worke, in hope
of gayne, and all these parts full of the enquirye made by me and
Mr. Petty: all aboue ground being gone to Venice, wee must trust,
like miners, to chance; but I fynd, that the old christians, to preuent
the enuye of the Turkes, did in all Greece, and the islands, burye
theire antiquityes, which tyme and dilligence will discouer. Your
grace willbe pleased to send me herein your farther directions,
and to accept my poore man, who hath vndergone infinite paynes
and perill, and is now well practised both in the countrye and
with the inhabitants, and has sufficient language, and indefatigable
industrye, for this employment, not easely matched. His hopes
are, that seeing I cannot reward him, that your grace, which is
his ambition, will take him for your seruant : which I shall humbly
acknowledge as an high fauour, that I haue beene able to doe
one man good

Constantinople, i^. May, 1627.

15 (p. 692, 693).
Til flic Duke (2/ Buckingham.
Alay it please your Grace,
My last letters were dated the 19. of May: wherein I enclosed
the forme of some peices of marble drawne in paper: and if that
be arriued to your grace, you will haue found the first fruicts of vs\f
seruants imployment into Greece, who is not yet returned, but I
haue often heard from him. Foure statues he hath sent from
Corynth: what they will proue, I dare not spoyle by prayses and
expectations; but I am enformed, that they are such (though de-
faced) as in Rome (where images are gods) would be highly

EXTRACTS FROM ROE'S LETTERS. 203

esteemed. He is some monethes past gone to Achaya, Argos,
Lacedemon, and Na])oli di Romania, and so to the islands Cy-
clades : and I do expect him shortly, after hauing uisited all the
places likely to yeild your graces contentment. Many other peices
he hath gotten, of which, when he shall retume, I will send your
grace a catalogue, as a modell of the success of my zealous en-
deauours to doe you humble seruice.

At Bursia I lost my labour and expence, not hauing one head
nor foote. And from Sinope and Amasia, ther is nothing come
but aduice of a tombe, which, if it could be gotten, is too heauy
for any engine to carry to the sea. What I cannot performe in
my owne tyme, (which now with much wearines I spinne out) I
will sett in such order, that whatsoeuer is found (and our search
hath begotten a diligence and care in all the inhabitants of the
Arches and Morea) shalbe preserued [p. 693] for your grace; who
I know doth esteeme it as much greatnes to accept of small ser-
uices of poore men, as to command the mighty; and therfore
I will take that comfort in your graces nobelnes, that I cannot
fynd in my owne meritt

Constantinople, .^|. Octob. 1627.

16 (p. 763, 764)-
Extract of a Letter to the Duke (^ Buckingham.

. . . [p. 7 64] ... In the search of marbles, wherby I haue endeauored
that your grace should measure my deuotion to your desires, I
haue had many crosses, but a late one aboue all the rest. My
agent, whom I presumed to recommend to your grace, and im-
ployed in Greece, after hauing visited and searched all the famous
parts of Morea, as Thebes, Athens, Lacedemon, Achaia, Corynth,
and many others, and as he continually \vrote me, had bought
many pieces that he could not prouide suddenly to carry away, is
dead in Patras; whither he had sent foure statues, and followed to
ship them : of these the consull will take charge, and to recouer
many other things scattered here and there, according to such
notes as he left, or had formerly sent me; but this must be a new
worke. He also had sought in most of the islands, where he
bought such as could be found, and buried them in the sand, or
left them with Greekes vntill his retume to make his full collection ;
but God hath preucnted him. I haue in other ])laces diuers

204 APPENDIX.

marbles, if I can gett them togither: what they will proue, doth
rest in your graces only acceptance and benignitye; and though
I had lost them all, yet I would not loose his testemonye, that
no diligence, care, trauell, nor expence, hath been spared to proue
my selfe, &c.

Constantinople, 22. Feb. old stile, 1627 [1628].

17 (p. 808).

To the Duke (t/ Buckingham.

...He [Sir Thomas Roe's successor] hath seene some of my
little marbles, and flatters me with an opinion, that they wilbe
acceptable. I am sure they haue two consequences of curiosityes;
much care in getting, and their valew resting only vpon your
gratious liking. I haue lately gotten one, whose rude figure I
enclose: and being praysed by a doctor brought vp in Italye, I
will transcribe his owne words : E di quelle statue che li getttilhuomini
Romani sogliono metere nelle bauole \tavold\ et scantie di lor libra-
rie, secondo iVuso Romano, i?itiera, bella, et di jinissinio marmo, et a
giuditio mio di bona ualuta: non staro d depingerla piu oltre. I know
not what my racolta will proue: I should haue many; but the
death of my seruant on the one syde, and the difficulty to gett our
shipps to goe out of the way to take them in, will diminish the
muster of my diligence. I could haue laden shipps with such
stones as Mr. Petty diggs ; but good things undefaced are rare, or
rather not to be found. Our search hath made many poore men
industrious to rippe up old ruines : so that, in this also, my suc-
cessor may supply my defects ; and I am aboundantly recom-
penced, if any thing I haue done shall be by your grace esteemed
in any proportion of my deuotion

Constantinople, 15th April, 1628.

18 (p. 818).

To the Duke o/BucKmCHAM.

...I am now collecting and lading the few marbles I haue
found for your grace. Some are to be shipt from Patrass: others!
attend from Zea and the islands. If they want the expected
beautye, your grace will consider I had them out of the ground,
which is not sufficient sanctuarye from the envye of the Turkes,
and vouchsafe in them my true zeal to your seruice

Smyrna, 27. June, 1628.

EXTRACTS. 205

Extract from Ticrney, The History and AntiquitUs of the Castle
and To7iin of Arundel. London, 1834.

i9(ii- P- 435)-
71ie Earl of Arundel to his Countess.
...I desire you woulde presently, by some meanes, knowe what
Sir Tho. Roe hath brought of antiquities, Goddes, vases, inscrip-
tions, medalles, or such Hke. I thinke Sir Robert Cotton, or Mr.
Dikes, were fitte to gette them. I wish it were done before Fri-
day, for I feare my lord Chamberlayne; and no we I thinke they

might easily be had

Theobald's, Monday.

A CATALOGUE

ANCIENT MARBLES
GREAT BRITAIN,

PARTICULARLY THOSE IN PRIVATE
COLLECTIONS.

" ...in un pajo di Secoli It Antiquarj avran da falicar molto sopra U Antichith
uscite dalla Alanifattura nostra.'"

G. Casanova, Discorso sopra gV Anlichi,
Lipsia 1770, p. xli.

EXPLANATION OF SOME ABBREVIATIONS.

Ariri. Anz. — Archdologischfr Anzeiger, supplement of the Archdo-

hgische Zeitung, edited by E. Gerhard, 1849 — 1867.
Arch. Zeit. - Archdologische Zeitung, ed. by E. Gerhard and others,

Berlin, from 1843: in progress.
C. I. Gr. = Corpjis Inscriptionum Graecanim, ed. by Boeckh,

Franz, Curtius, Kirchhoflf. 4 vols. Berlin, 1828 — •

1877.
C. I. Lat. = Corpus Inscriptionum Latinarum, ed. by Mommsen,

Henzen, Huebner and others. Berlin, from 1863: in

progress.
Cavaceppi, Race. —Raccolla cf antiche statue, &^ir., restaurate da Bart.

Cavaceppi, scultore romano. 3 vols. Rome, 176S

Clarac —Mtisee de sculpture antique ei moderne. Far M. le

Comte de Clarac. Engravings, 6 vols., Paris, 1826
— 1853; letterpress, 6 vols., Paris, 1841 — 1853.

Cod. Coburg. = Codex Coburgensis, ms. containing drawings from

ancient sculptures made about the middle of the i6th
centur)'; described by Matz in Monatsbericht der
Akademic der IVissenscliaften zu Berlin, 1 871, pp.

445—499-

Cod. Pigh. = Codex Pighianus, a similar collection, described by

O. Jahn in Berichte der sachsischen Gesellsckaft der
Wissenschaften, 1868, pp. 161 — 235.

Dallaway = Dallaway, J. , Anecdotes of the Arts in England. Lon-

don, 1800. (The numbers added in brackets refer
to the French translation Les beaux-arts en Angle-
terre, oinrage traduit de PAnglois de M. Dallaway,
par M"* : publii et augments de notes par A. I..
Millin. Paris, 1S07. 2 vols.)

Denim, d.alt. Kunst = Denkmdler der altcn A'unst, nach der Aus^vahl und
Anorduung von C. 0. Miiller. Zweiie Bearbeitung
durch Fr. Wieseler. i vols. Gbttingen, 18.54,
1856.

Miillcr-Wicsclcr
M. C.

= lhe same work.

2IO EXPLANATION OF SOME ABBREVIATIONS.

Ovcrbeck, Bildwerke =Overbeck, ].,die Bildwerkezum thebischcn imd troischin
Hddinkreis. Stuttgart, 185S.

Spec. = Specimens of Antient Sculpture, selected from setieral

collections in Great Britain, by the Society of Dilet-
tanti. 2 vols. London, 1809, 1835.

Waagen, Trcas. =Waagen, Treasures of Art in Great Britain. 3 vols.

London, 1854, '^^'''h a supplemental (iv*) volume :
Galleries and Cabinets of Art in Great Britain.
London, 1857. (The numbers added in brackets
refer to the original German edition of the first
work : Kunstwerke und Kiinsller in England. 2
vols. Berlin, 1837, 1838.)

At the end of each article *, B, C, M. m, iF refer to the following authorities
(see preface) ;

* to the Author's own observations.

B to Prof. Bernoulli's MS. notes.

C to Prof. Conze's MS. notes.

M to the late Prof. Matz's MS. notes.

m to K. O. Miiller's articles.

IV to Waagen, Treasures, etc.

The measures are given in metres and centimetres, an English foot being equal
to 0-305 m.

H. = Height. L. = Length. D. =Depth. W.= Width. "L. of face" means
length from the top of the forehead downwards to the chin. l. = left. r. = right.

ANCIENT MARBLES

GREAT BRITAIN.

St ANN'S HILL (Surrey).

Dallaway, p. 385 (11. p. 137).

The antiques collected by Henry Fox, who became Lord
Holland in 1763, are probably now in the possession of Lady
Holland. Dallaway enumerates the following busts :

1. " Sappho."

2. Trajan.

3. "Cicero."

4. " Demokritos."
To these must be added

5. Boy with pitcher, Cavaceppi, Race, i. PI. 4. The
boy is standing with his legs wide apart ; a drapery rests on his 1.
shoulder and hangs down his back to the ground. On the left
shoulder the boy holds with both hands a large urn in a slanting
position ; if it is antique, water probably issued from it into a basin,
and it characterises the whole work as a decoration for a fountain.
The figure appears to be less than life size.

CASTLE ASHBY (Northamptonshire).

Birch, Arch. Zeit., 1846, p. 340 ff. Conze, Arch. Am., 1864, P-
237* f.

The collection of the Marquis of Northampton includes glass
vessels, of which we have no further information, and painted

14—2

212 BATTI.ESDEN. lilGXOR.

vases, which are treated of in the two accounts quoted. The
vases seem to have been collected together after 1830 (cf. Archdol.
Intelligenzhlait, 1833, p. 11). The collector, who himself wrote
" Observations on a Greek vase discovered in Etruria, bearing
the name of the fabricator Nicosthenes, in the possession of the
Marquess of Northampton " (1841, 4to), died a.d. 1851; some of
his vases appear to have afterwards come into the possession of the
British Museum. (Introd. note 452.)

BATTLESDEN (Bedfordshire).

Since June, a.d. 1875, the celebrated collection of the Marlborough
gems has found a home here. It was bought by the present owner,
Mr Broomielow of Manchester, for 35,000 guineas. George
Spencer, 4th Duke of Marlborough, was the collector. The
principal constituents were the Arundel gems, the collection of the
Earl of Bessborough, and finally single purchases made by the Duke,
for example from Count Zanetti in Venice. Cf. Introd. §§ 23, 50.
The collection, which consists of 739 specimens, has been admirably
catalogued by M. H. Nevil Story-Maskelyne, The Marlborough
Gems, 1870. A selection of 100 of the best specimens is to be
found in the magnificent publication : Choix de pierres antiques
gravees du Cabinet du Due de Marll'orough,io\.,'Vo\. i. 1780, with text
by James Bryant; Vol. n. 1791, by W. Cole (100 copies only). In
1845 John Murray had a new impression of the plates prepared, with
text by Vaughan Thomas (2 vols., fol.).

BIGNOR PARK (Sussex).

Bignor is situated on the old Roman road from Regni (Chichester)
to Londinium, and is celebrated for its remains of a Roman villa
with valuable Mosaics (Lysons, Reliquia Brit. Rom., pt. iii.). Not
for from it is situated the country seat of Mr Hawkins, where are
preserved some antiques, collected by the well-known traveller J.
Hawkins, who sold Payne Knight a portion of his bronzes ; for
example the valuable specimens from Paramythia (Epeiros); but kept
back for himself a few beautiful examples. (Introd. §g 67, 68.)

I. Bronze relief from Paramythia: Millingen, Anc. lined.
Mon., H. PI. 12. Spec., 11. 20. Miiller-VVieseler, 11. PI. 27, 293.
Aphroditt. accompanied by two Erotes, announces to her paramour,
Anchiscs. who wears an Eastern costume, the future greatness of his

HIRMI.NdHAM. HLKXHKIM I. 21 3

race, of which she is to be the ancestress. (Cf. the Homeric
Hymn to Aphroditfe.) A magnificent relief in the most beautiful
and delicate style of art. Some small injuries have been repaired
by Flaxman.

2. Hermes, resting in a sitting posture. By his side a cock,
which has been restored. Bronze, from Paramythia. Spec, 11.
PI. 21.

3. Cameo : large size : representing the triumphal procession
of a beardless Emperor on a quadriga. He is being crowned by a
Victory, and is surrounded by eleven men, among whom are si.x
lictors. A Cupid hovers above ; at his feet sits a weeping Woman,
the personification probably of a conquered country. Of late date.
[Conze, Arch. Anz., 1864, p. 167*]

I am not in a position to say whether Mr Hawkins ])Ossesses
any more antiques.

BIRMINGHAM.

Mr Newton informs me that Mr J. A. Crane owns two statues
which formerly belonged to the Anson collection at Shugborough
(Introd. note 174), viz.:

1. Trajan, in the attitude of haranguing his army (allocuiio), and

2. An empress, both seriously renovated. The former has
been already noticed by Pennant.

BLENHEIM PAL.ACE (Oxfordshire).

Scharf, G., Catalogue Raisonn'e of the pictures in Blenheim Palace,
London, i86i, pp. 8i — 82. Waagen, Treas., in. p. 133 (11. p. 51).

In the splendid though somewhat cumbrous palace which the
English nation had built for the victorious Duke of Marlborough
at Woodstock, are two busts which I examined in 1877.

Ham..
I. Bust of Alexander the Great, supposed to come from
Herculaneum. There is no doubt about the antiquity of the head,
which is excellently sculptured and of beautiful Greek marble,
probably Pentelic, of particularly fine quality. It is almost perfect
except the extreme tip of the nose, which has been restored
in plaster; here and there small lesions appear, particularly round
the left eye ; finally the curls on the back of the neck have
been cut off quite straight. The form of the face is compara-

2 14 BLENHEIM I.

tively broad ; the expression inclines towards sadness ; the eyes are
deep set, particularly in the inner corners. The lines of the eye-
brows and of the bridge of the nose, which is wide, are clearly
defined, but without any sharpness ; the gently curved profile of the
nose is very fine. The lips are remarkably full ; the upper lip pro-
trudes strikingly, the lower one is round and somewhat depressed.
The lower half of the forehead projects, especially towards the
temples ; the upper part is set more back, but not divided from the
lower by any definite line. In contrast to the slightly polished flesh
the hair is roughly treated, and still preserves distinct traces of
reddish colour; in a like spirit the curls are deeply undercut but
not very delicately finished. The head is surrounded by a fillet ;
above it the hair, combed in rays, is only slightly defined ; the curls
once fell low down on the neck ; in front they are raised considerably
above the forehead, not however over the middle, but* rather
over the r. eye, a peculiarity which recurs in other portraits of the
Great King. The whole face is framed by abundant curls, which
do not however in any way confine it. The head belongs to the
class of ideal portraits, and forms a strong contrast to the insipid
terminal bust from Tivoli preserved in the Louvre (Bouillon, Mus.
des Ant., ii., histes, PI. 4). Of the neck only a small part remains
intact, and this piece shows that the head was originally inclined
towards the 1. shoulder. It is now joined by a neck-piece of spotted
marble on to a bust covered with a breast-plate. The lower half
of this breast-plate slanting down from the r. shoulder to the 1.
nipple is an uninteresting modern restoration. The upper half is
excellent, comprising the open throat below the neck-pit, the upper
edge of the breast-plate with the remains of a head of Medusa, and a
piece of the chlamys in rich folds on the shoulder. Although this
portion has been broken in several places, and here and there
mended a little, there is no doubt all these pieces originally be-
longed together ; they are of Greek marble exactly resembling that
of the head. The folds of the chlamys are of rich workmanship;
they flow from a button which is ornamented with a fine relief after
the manner of chased metal-work, and which represents, within a
beaded moulding, an eagle facing 1., standing on a dead hare, and
plucking out part of its intestines with his beak. (Cf. coins from
Elis, Agrigentum, etc.) The Medusa-head is remarkable for its
abundant and bristling hair, and also for the size of its wings.
That part of the chiton which appears above the edge of the
breast-plate in the form of a richly gathered shirt-hem looks rather

lil.K.NllKlJI 2, 3. 215

modern, and might make us doubtful whether the whole of the
breast-plate is antique. The form of the breast-plate on the shoulders
and at the back of the neck is unusual ; it is also strange that there
are no longer any traces at the back of the neck of the curls which
there is every reason to believe must previously have fallen down on
to it. Considering, however, the similar quality of the marble and
the e.\cellence of the work, which are equal to those of the head,
I do not venture seriously to doubt the genuineness of this upper
portion of the breast-plate. H. 075, height of head 0-31. L. of face
0-185. [*Sc-/utr/]

Library.

2. Bronze bust of a Satyr : of the nobler type, laughing
and youthful, looking upwards r.; life size. Over the forehead
two small horns, the brutish ears lying quite back. Pupils of the
eyes indicated. At the back of the head, strong traces of gilding.
Very peculiar is the fawn-skin (i/€/?pis) fastened lightly round the neck
with a border, trimmed with fringe. This fringe and some other
peculiarities arouse doubts as to the ancient origin of the bust. [*]

Garden.
On the further side of the waterfall, and about a mile from the
mansion, there stands, under a group of trees, and used as the front
wall of the basin of a fountain, an —

3. Oval sarcophagus : front half now in great measure over-
grown with moss, so that the lower half of the relief is no longer
visible. Two lions' heads, now furnished with conduit pipes, divide
the figure sculpture into compartments. Below the lion's head to
the 1. Herakles is reclining on a lion's skin, with a roll-shaped
■wreath {v-n-oOvixL^) round his neck and the r. arm (the hand of which
is missing) upraised. A small Pan .supports his back, and a second
(the head missing) is pouring wine from a skin into the drinking-
cup (o-Kvc^os) which Herakles holds out. The group is surrounded
by a Maenad with a lyre to the 1. of the lion's head (the r. arm and
half of the 1. forearm are missing) and a second Maenad with cymbals
(/ci'/xj8a\a) by the feet of Herakles (the r. hand and the lower half
of the 1. arm are wanting) ; both wear long draperies and cloaks
floating in an arch over their heads. A Satyr (who has lost his
r. hand and the lower half of his 1. arm) dances in the midst before
Dionysos (ininus the head and r. arm), whose lower limbs are partly
hidden by his cloak. He is supported by a second Satyr, who
holds a pedum in his 1. arm (his head is missing) ; on the ground

2l6 BOYNTON.

crouches a female panther. Then comes another Maenad draped in
a floating cloak, hurrying r. (her head, lower part of r. arm and 1.
hand, are gone). At her feet lies the sleeping Ariadne under the
lion's head, her lower limbs draped, the upper part of the figure
nude. This upper part rests in the lap of a richly dressed figure
(Somnus?), the head of which is missing. A small Cupid is playing
at Ariadne's feet, and a skittish little Pan is just going to uncover
the sleeper still more. On the other side of the lion's face are
another Maenad with a lyre, and a Satyr with a nebris, raising his
r. hand. The elegant symmetrical composition, the graceful sub-
ject, the good alto-relievo deserve a better fate than to keep
gradually disappearing in this romantic spot under their destructive
covering of moss. The sarcophagus belonged at one time to the
Massimi, and then to the Delia Valle. Old drawings of it are to
be found in Cod. Coburg., Matz, no. 142, in AVindsor (Vol. vii.
PI. 3, 22, X. PL 20), in the possession of Mr Franks in London
(in duplicate), and in the Library of Trinity College, Cambridge
(R. 17. 3, fol. 18). L. 1-85. H. 0-64. [*]

BOYNTON (Yorkshire).
Dallaway, Anecd., p. 386. Of Statuary, p. 340.

In Boynton, near Bridlington, now the seat of Sir Walter
Strickland, are preserved some marbles, which Sir George Strick-
land had obtained through Jenkins in Rome between a.d. 1780 —
1782. Dallaway mentions only two of them : —

1. "Statue of Juno [? cf. Gerhard, Aiit. Bildwerke, PL 12
'Libera'], h. 4' 10" [i'47] carrying a faun [fawn?] under her left arm,
which is encircled in a wreath of fruits and flowers suspended from
the right shoulder ; in the right hand a bunch of flowers. In great
preservation, and the drapery excellent. This fine statue was found
in 1777, at the Torre tre teste, four miles from Rome, on the Prae-
nestian way, laid on a tesselated pavement, probably of the temple
to which it belonged.

2. Head of M. Junius Brutus, large life, and of perfect and
excellent sculpture."

A communication of A. S. Murray, Esq., enables me to add the
following marbles :

3. Venus and Cupid. 4. Terpsichore. 5. Diana.
, 6. Vase from Villa Mattci.

BROAUI.ANUS I — 4. 217

BROAUI.ANDS (Hampsliire).
Dallaway, p. 344 f. (11. p. 9).
Very near the small town of Romsey in Hampshire is situated
the beautiful country seat of Broadlands, belonging to the Palmer-
STON family, and now in the possession of the Right Hon. W. Cowper
Temple. Here may be seen a small collection of antique sculptures
which Henry Temple, second Viscount Palmerston (1739 — 1802),
acquired in Italy in 1764 when he was a young man. An autograph
memorandum by the collector gives some of the prices, which have
been placed under the particular specimens so far as it can be recog-
nised with certainty to which they refer. In 1877 I visited the
collection and made a full description.

Vestibule.
Here, not to mention three modern busts of an Emperor, an
Empress and a veiled female, are the following antique sculptures :

1. Head of Apollo, colossal scale: hair drawn back from the
face and fastened together over the parting in a coronal. (Cf Deep-
dene no. 4, Petworth no. 7.) Forehead very round, with the brow-
line sharply defined. The good workmanship proves the value of
the original head here copied. New: nose, upper lip, breast. Pentelic
marble. H. of the genuine part 0-35. L. of face 0-20. Probably
purchased together with no. 9 for ^35. [*]

2. Relief of a Satyr: he dances r. on r. leg, and throws back
his head. His r. hand is stretched out backwards and he grasps in
it the corner of a panther skin, whereof the greater part hangs down
over his 1. arm which is stretched straight out. In 1. hand he holds
a kantharos, the contents of which he is pouring out. Very low
rehef, in shape of a round disk. Diameter 0-29. Purchased together
with no. 4 for ^22. [*J

3. Fragment of a relief: female flute-player draped in a
chiton, with a cloak thrown over her lower limbs, 1. arm and back,
moving r. and blowing the double flute. From below the knee to the
neck, and part of the profile of the face, old; flute and r. hand
partly new. Very high relief, originally of fresh and good workman-
ship, but on the chiton much worn and on all other parts a good
deal touched up. Fine-grained Greek marble. H. 073. L. 0-32.
Bought for ^10. [*]

4. "Hygieia," oval relief: evidently only the remains cut
out of a much larger rchcf .V woman, turning somewhat r..

2l8 BKOADLANDS 5, 6.

wears a chiton and over it a cloak gracefully cast from her r. hip
over her 1. shoulder; both forearms extended at a right angle.
Hair simply arranged and gathered up behind in a plait. R. fore-
arm, with a serpent coiled round it, and 1. hand, with a cup (which
details explain why the female has been ticketed Hygieia), new, and
so are the greatest part of the face and parts of both legs. Very
high relief of elegant workmanship. The marble has black spots.
H. o'54. L. 0-35. Cf remarks on no. 2. [*]

5. Fragment of a relief representing three Maenads
dancing, composed of four pieces which belong to each other,
and completed by two new patches. It corresponds exactly to the
Albani relief in Zoega, Bassirilievi, 11. PI. 83, cf. London, Lansdowne
House, no. 58. The first Maenad, facing 1., with her head thrown
back on her neck, is swinging a fawn over her 1. shoulder, and in
her r. hand, which is extended backwards, holding a sword upright.
The second, moving in the same direction but with her head lowered,
holds the sword behind her neck and half a deer in her 1. hand
which is lowered. The third faces r. She also holds half a fawn in
her lowered 1. hand, and in the r. a th)TS0S vertically. In the second
figure the sword blade, the upper part of 1. arm with part of the
cloak, the 1. foot and part of the chiton are new; the third figure
has been completely renewed from above the elbow upwards. High
relief in the so-called Neo-Attic style. Pentelic marble. H. o'42.

L. 0-65. n

Hall, ist compartment.

6. Head of Aphrodite, with neck : a beautiful Greek head
of coarse-grained marble, probably Parim, the surface much cor-
roded and dotted with calcined excrescences, but not restored, or
retouched. Nose in perfect preservation. In the direction of its
length the forehead, which is peaked and not very low, is much
rounded. The hair, parted down the middle, flows in beautifully
treated waving lines towards the ears, the delicate tips of which are
visible, and behind falls unrestrained down the back of the neck.
The upper part of the skull is missing ; a flat plane sloping back-
wards reminds us of the lesion disfiguring the Psyche of Capua ; a
narrow groove in front would seem to show that the head was once
crowned with a metal stephane. The brow-line over the eyes is dis-
tinctly but very delicately drawn ; the eyes, which are quite oval in
shape, are somewhat deep set (1. o'04, h. 0-015; distance of the inner
corners of the eyes from each other 0-03). The eyelids are very
delicate, rounded more below than above, somewhat sunk in the

BROADLANUS 7 — 9. 219

inner corners; all four corners of the eyes lie in a horizontal line.
The insides of the eyes were hollow and have been filled up with
plaster. The nose has a broad bridge and is almost straight, with
a pretty, delicate tip; its profile diverges somewhat from the line of
tlie forehead. The mouth again is very delicate and softly curved
{1. 0-05), and is slightly opened; the upper lip protrudes a little. The
chin is very long. The whole head gives one the impression of grand
and lofty beauty, more delicate than that of the goddess of Melos,
perhaps somewhat more severe than that of the Knidian Aphroditfe
in the Vatican. Purchased for ^^5! H. 0-37. Length of face 0-21,
height of forehead 0-07, length of nose 0-07, space between the
nose and the mouth 0015, length of chin co;. [*]

7. Cinerarium : two eagles holding an oak garland in their
beaks; above, a bird seizing a lizard by the tail. Below, the fol-
lowing inscription (C. /. Lat., vi. i, 2503): Mettio Messori \ mil{iti)
cho{ortis) iii pr{aetoriae), 7 {ceniuria) Au\dacis, Claudius | Jitefianus
conmaniplo b{ene) m{erenti) /{ecit). Found in 1735 i^s^-r S. Alessio
on the Aventine. L. 0-35. H. o'lS. "Two cinerary altars (cf.
nos. 8, 30), and an urn (nos. 32? 33?) and a small basso relievo (?)"
were purchased together for ;^i7. [*]

8. Cinerarium : two Ionic spiral fluted columns connected by
a garland. Below, a tablet with the inscrii)tion : T. Aquilio \ T. l(ibertd)
Peloro I vestiario de hor(tis) | Volusianis \ Plotia Flora \ conuig(i)
l>{ene) merent{t). The horti Volusiani, probably laid out by one of
the Volusii Saturnini, a family famous for its colossal wealth in the
first century of the empire (Tac, Ann., 3, 30), do not appear to be
known othenvise; for vestiarii, with more exact description of place,
cf. Preller, Regionen der Stadt Rom, p. 151. Below the inscription,
folding doors, open and surmounted by a pediment. In the doorway
stand a man in tunic and pallium and a woman with a curled
wig, in stola and palla, holding out their r. hands to each other ; he
lays his 1. on her head and she in her 1. holds an apple (?). H. o"58.
L. 0-36. D. o'3i. Cf. on no. 7. [*]

9. Head of Hermes, not a portrait : hair very curly, and
covered by the petasos, the brim of which has been broken all round
and restored on too scanty a scale (cf. Lansdowne House, no. 88); the
hat held on by a riband, which passes not under the chin but round
the nape of the neck. The terminal bust has been restored. Ordinary
workmanship. Marble with grey stripes. H. of genuine parts 0-29.
L. efface o'i6. Cf. on no. i. f*!

220 BROADLANDS 10 — 12.

10. Terminal bust of a victorious athlete : short curly
hair lying close to the head, and entwined with a round rope-like
fillet, the ends of which fall over the shoulders in front. Mouth
slightly opened, chin very long. The original was, to judge by this
repetition, of a pure early style, and belonged probably to the close
of the 5 th century b. c, or to the beginning of the 4th. New : tip
of the nose, a great portion of the back part of the head with pieces
of the fillet, two thirds of the terminal bust. Greek (Pentelic?)
marble. H. 0^39. L. of face o-i8. Can this be the "Ptolemy"
(^13) of the Memorandum? Cf. however on no. 23. [*]

11. Triangular altar, with a top-piece of slightly raised acan-
thus work ending in a (modern) knob, showing that the altar was
intended for ornament and not for use. On the three sides the
following reliefs: (i) Seilenos, bearded and bald-headed, crowned
with ivy, nude except for an apron about his loins and shoes on his
feet; he is standing in repose facing r., holding a tympanon in his
1. hand, which is lowered, and with his r. touching the plaited fan
(XiKi'or, vannus) in which the phallus is visible surrounded with fruit.
(2) On the side further 1., and therefore behind Seilenos, is a female,
facing r., in a quiet pose, draped in chiton and cloak ; her r. shoulder
is bare, and on the 1. she carries a flat dish full of fruits, among
which a long root (?) rises up high; with her r. hand she holds a
flaming torch horizontally before her, directed towards an altar on
which fire burns. (3) Behind her, a Maenad in girdled chiton
which leaves the r. breast and arm free ; her head is thrown back ;
her r. hand, which is lowered behind her, holds a sword, and her 1.,
lowered in front of her, half a fawn ; she is in violent action, and her
chiton floats down in grand folds. The three reliefs are to be found
in the drawings of dal Pozzo at Windsor, Vol. vii. PI. 59 — 61. The
lower architectural sections are modern. H. o'66. L. o'27. [*]

12. Statue of a Nymph, called less correctly " Melpomene,"
answering to that in the Vatican given in Biondi, Monumenti
Amaranziani, PI. 34. Clarac, iv. 752, 1830. The wide cloak is
thrown round the legs, leaving the whole of the upper part of the
figure nude. She stands on the r. leg, and steps, after the manner of
Melpomene, w-ith the 1. foot much raised; half the 1. foot and the
marble block with its base have been put in incorrectly, in place of a
large vase lying on the ground, as is shown in the Vatican replica.
The upper part of the figure is leaning far forward, supported on the
1. arm, which rests on 1. knee. New : 1. forearm and a piece of
upper arm, also the whole of r. arm, head and part of neck.

IiKllAlll.A^'I>^5 13 — 16. 22r

CJraccful ilccorati\e work, but touched up. Greek marble. H. 0-62.
Possibly the one styled in the memorandum " small statue of
Venus," which was purchased together with no. 31 for the sum of
;^75- [*]

Hall, 2nd compartment.
Besides a number of modern works and copies from the antique,
among which is the vase with Bacchic scenes (no. 16 in Dallaway),
are to be seen here;

13. Statue of "Ceres," originally a portrait like those in the
Florentine Loggia de' Lanzi: Cavaceppi, Race, \. PI. 10. Clarac,
III. 428, 770. The imposing figure resting on the 1. leg is draped
with an Attic x'toJi' SittAoi's. Over this doubled chiton is a cloak which
covers the 1. breast, shoulder and arm, and is then drawn gracefully
behind the back to the r. shoulder in folds reaching to the knee;
the upper border falls down over the 1. forearm, which is outstretched.
New : the head, crowned with ears of wheat, the neck, the uplifted r.
arm with the ears of corn, inclusive of the shoulder, the 1. forearm and
hand, as well as both feet and part of the flowing chiton. Good
work, not however particularly fine ; only slightly touched up. Pen-
telic marble. H. rip. Purchased for ^90 together with no. 14. [*]

14. Statue of Hygieia: Cavaceppi, ./?(7(-c., i. PI. 11. Clarac, iv.
557, 1 181. A figure standing in repose in chiton and cloak which
covers the 1. arm and the greater part of the back and legs. She
rests on her 1. leg, the r. being retired a little behind. Beside her r.
thigh a serpent rises up between her hip and elbow, and then winds
round the latter, along the arm and through her hand along front
of her body, towards a cup which the goddess holds in her 1. hand.
New: Hygieia's head and neck, some parts of the serpent (whose
head is missing), and r. foot; the r. arm has been fastened on, but
is antique; the 1. hand and the cup are apparently so too. Decora-
tive work. Coarse-grained Parian marble. H. i-o8. Cf. on no.

'.V [*]

15. Female portrait head: hair gathered up in a small knot
behind, and cut in short curls round the forehead without any mean-
ness of effect. Much washed out. New : tip of nose, part of hair
over r. half of forehead, bust. Height of genuine parts o-2_5. L. of
face oT I. [*]

16. Double terminal bust : on one side, a youthful Satyr-
like head, with rufilLd hair, among which is an ivy wreath. The
eyebrows are strongly waved and drawn up. On the other side

222 BROADLANDS 1/ — 20.

a similar head with a somewhat more tender expression (perhaps
feminine) wearing a laurel wreath. The upper parts of all the ears
are concealed. The conjunction of the wreath sacred to Apollo
with that of Dionysos is worthy of notice. In a state of perfect
preservation except that the busts are modern. H. of genuine
part o'2o. L. of face 0-13. "A term" was bought for _;^5. [*]

17. Bust of a young Roman with a good open countenance,
called "Scipio Nasica." Hair very smooth, combed right over
the forehead, and carefully treated there only, the rest being left in
a somewhat rough state. New: certainly the nose and the bust,
which is covered with drapery; all the rest has been carefully smoothed
over and is not quite free from a suspicion of being spurious. In-
artistic work. H. 0-64. L. of face o'i6. Probably bought with
no. 18 as "two busts" for ^22. [*]

18. Bust called "Titus": a big head, with a fillet through
the hair, certainly not Titus. The pupils of the eyes are indicated.
New : the nose, and the bust, which is covered with drapery. I
would not undertake to vouch for the authenticity of this insignificant
piece of work. H. o'G\. L. efface o'ly. Cf. on no. 17. [*]

ig. Bust of Africa: Cavacepjpi, Race, i. PI. 49. A grace-
ful little head, somewhat in the character of a Venus, inclined gently
towards its own 1. This head is framed in abundant curly hair,
which is deeply undercut with the drill. An elephant's hide lies
on the hair (the trunk and small tusks have been restored) in thick
furrows, the large ears hang down at the sides. The fertility of
that quarter of the world is indicated by the wreath of corn lying
on the hide, and bound together behind by a piece of riband.
New : the nose ; the hem of the garment in front of the neck
is open to suspicion : the work as a whole, however, though
somewhat defaced, appears to be antique. Visible traces of
touching up to be perceived here and there, but essential parts all
original. Africa appears on coins depicted in a similar manner,
but without the wreath. H. o'29. L. of face o'i2. Bought for

20. Youthful head, of Bacchic character : a broad fillet covers
the forehead and passes through the hair, which is gathered together
in a knot behind; long curls hang down to the shoulders. Hair
crowned with ears of wheat. The older parts much rubbed. New :
nose, mouth, chin, part of the wreath and the female bust; the head
has been raised up 1. with a somewhat sharp turn without any
apparent reason. L. of face o'i5. [*]

rROADI.AXDS 21. 2^3

21. Front of sarcophagus with the story of Meleagros,
resembling that in the Casino Rospigliosi (Beger, Aleleagrides, p. 19)
more than any other, (a) King Oeneus, in sleeved chiton and a
cloak thrown round his hips, stands under an arched gateway on the
extreme 1. ; he clutches his beard sadly with his r. hand, while in his
1. arm he holds a sceptre. (^) A youthful attendant in chlamys
regarding the King with a sad demeanour stands near him in the
background, {c) The powerful Ankaios at the same time moves
hurriedly r. with heavy steps ; on his 1. shoulder he carries a double
axe, with his r. hand he leads abound by a cord, (d) Artemis, exactly
in the attitude of the celebrated statue of Versailles in the Louvre,
hastens before him ; her r. breast bare, her head inclined fonvards ;
by her side runs a second dog. In the background (i) a bearded
man, looking behind him, wearing the chlamys, his r. hand in front
of his body ; in front a third dog. {f g) The two Dioskouroi then
follow with chlamys, cap and spear ; f is seizing Meleagros by
the arm; a horse's head is visible near^. (New : the forepart of the
third dog and the lower part of fs r. leg.) (/i) Meleagros, with a
fillet about his hair and dressed in the chlamys, is couching his
lance; between his legs is a fourth dog; (i) Atalanta is beside him in
the background, shooting off her arrow. Opposite them stands (k)
the mighty boar, which seems just to have burst from a cavern that
is but slightly indicated ; he has been transfixed by Meleagros, and
bitten by a fifth dog in the leg. Beyond the boar we perceive a tree,
and beside it (/) a hunter in chlamys and hat, casting a stone at the
boar. On this side of the cavern (m) a hunter with a fillet in his
hair, dressed in chlamys and boots, is thrusting his spear against the
animal; between his legs lies («) a wounded youth, supporting him-
self on his 1. hand, with his r. resting on his left shin; he also wears
a chlamys and boots. The whole closes r. with {0) a bearded man
whose expression is full of grief; he wears a chlamys and is girded
with a sword; supporting himself with his I. hand on his spear, he
lays his r. on his wounded 1. thigh. The sarcophagus, which is of
ordinary workmanship, is not mentioned in the researches concerning
the Meleagros sarcophagi of Kekul(^ {De fabula Meleagrea, Berlin,
1 861), Helbig {Aiinali deir Inst., 1863, p. 81), Matz {ibid., 1S69, p.
76). Though considerably broken it is yet in a state of good preser-
vation, and with the exception of the addition made to / has not
been restored in any way. Parts of some of the feet are missing, so
are the lower half of the bow of Artemis, the r. hand of Meleagros,
and the whole of his spear as far as his 1. hand, the upper half of

224 UROADLANDS 22 — 28.

Atalanta's bow, the ])o'mt of w's spear. I,. 2'i6, H. 0-58. Bought
for £6. [*]

22. Relief; a large slab with two figures placed far apart. To
the 1. a lady in a stola with a palla thrown round her legs is sitting
on a chair without back, facing 1.; she is supporting herself with her
1. arm on the seat of the chair, her r. hand rests in her lap. She
looks round towards a beardless man, with the Roman type of
features, draped in tunic and toga, who is extending his r. hand as
if he were speaking. New: all four corners of slab, and footstool
and part of legs of woman. Sculpture in imitation of the Greek, in
high relief, belonging to the first century of the empire. Of Greek
marble. H. o-6i. L. o'93. Bought for ^10. [*]

23. Bust of a boy with close-cut hair of Roman type. The
pupils of the eyes are indicated. New : tip of nose, parts of the
ears, r. shoulder, parts of tunic and cloak. Coarse. Possibly the
"Diadumenus" of the Memorandum, bought for ^10. H. 0-37.
L. of face o'lo. [*]

24. Bust of a child with joyous expression, with crisp close
hair. Small size. The tip of the nose, which is broken, appears to
be ancient, and so does the bust. Eyes very narrow. Of Thasian
marble. H. 0-28. L. of face 0-12. Bought for ^^5. [*]

Ante-Room.

25. Terminal bust of the winged Dionysos {psilax)
crowned with ivy, the wavy hair smoothed back, the expression
delicate. Small size. The tip of the nose is new. Of coarse-
grained Parian marble. H. 0-27. Probably bought with no. 26
for_;^6, "two small busts." [*]

26. Terminal bust of a female Satyr, laughing: small
size. A broad fillet intertwined with vine-leaves is drawn over her
forehead and through her hair. New : nose and lower corner. Not
agreeable sculpture. Italian marble. H. 0^24. Cf. on no. 25. [*]

27. A fat goat with full udder, lowering its head to graze. The
1. hind leg and some other details are new. Rough work. H. 0-25.
L. 0-28. [*]

Drawing Room.

28. Statuette of a female ; seated on a block of rock, quite
enveloped in her ample cloak, the folds of which remind us some-
what of the statue of Antiocheia {Miis. Fio-Clem., iii., PL 46). She
has thrown her r. leg over the 1. so that it extends far out; her r.
elbow is supported on her r. thigh, and her head is leaning on her

BROADI.ANDS 29—33, 225

hand. The 1. arm describes a rlglit angle. The head, separately
wrought, has a diadem {(TTetfxivrj) ; the hair is simply drawn back
and gathered together in a knot behind ; it shows abundant traces
of a red tinge ; the r. hand lay originally somewhat further back than
it does now. New : nose, r. fore-arm, 1. hand with the roll, and
details in the folds. Workmanship rather smooth and not delicate,
but tlie composition is verv graceful and the pose of the head fine.
II. 0-5I. [*]

29. Statuette of Eros. The mighty lion's skin is spread over
a rock on which the boy sleeps with his head somewhat raised. The
1. arm is outstretched and lies on one wing, the r. across the breast
and body. The idea of sleep is very naturally indicated in the
position of the head which is sunk back ; along the crown the
curly hair is dressed in a kind of plait. Both legs outstretched.
The torch, still burning, has fallen from the r. hand, the 1. holds the
broken string of the bow, both ends of which terminate in the head
of a swan. The quiver lies behind the back of Eros on the ground.
Near his breast crawls a lizard and another by his I. foot. New :
r. foot, half the 1. foot, two fingers of the 1. hand, nose and upper
lip. Coarse-grained Parian marble. L. 0-57. [*]

S.\LOON.

30. Cinerarium, of the period of the Flavian Emperors, at
the close of the first century after Christ. On the lower part of the
front surface the folding-doors of the grave, ornamented with lions'
heads, on either side a dog crouching on a pedestal. Over the door
hangs a wreath enclosing a tablet with the following inscription
(Gruter, 601. 4): T. Flavio Aug(iisti)lih(ertd) \ Oiiesimo, ministrat{ori\ \
decitiriaruiii) mi, | dec{uria) Favoris, \ T. Flavins Vitaliamis \ patri
Optimo. Over this a plant and on either side of it an ornament con-
sisting of a shell out of which a trident rises up, to which two dolphins
are chained by the tails. In each corner is an erection like a can-
delabrum, ornamented with a mask below and with a double sphinx
above. On each side is also a plant. Formerly in the Capodiferro
(Spada) palace in Rome. H. 054. L. 0-42. 0.0-32. Cf. on no. 7. [*]

31. Statuette of Athene, in the pose of the colossal statue
from Velletri in the Louvre. New : head, r. arm, 1. fore-arm, feet and
a great part of the folds. H. o'68. Cf. on no. 12. [*]

Dining Room.

32. Round vase, richly ornamented : cover and handles mo-
dern, the rest much touched up. On the principal band is on one

M. C. 15

226 BROADLANDS 33. BROCKLESBV.

side a pedum and a syrinx between two masks of Satyrs, one youthful
and one bearded ; on the other side a cista with the serpent, and
a thyrsos between the masks of a semi- bearded Satyr and a Silenus
crowned with ivy. All the reliefs very flat. H. 0'45. Cf. on
no. 7. [*]

33. A similar vase ornamented round the neck with rich fine
work representing branches; the body fluted. New: lowest piece
and cover. H. 0-50. Cf. on no. 7. [*]

BROCKLESBY PARK (Lincolnshire).

Catalogue of the Pictures, etc. in the House at Brocklcshy Park,
1856. 4° (very brief notices). Dallaway, p. 386 (11. p. 138). Conze,
Arch. Anzeiger, 1864, p. 215. For the Worsley Collection see
Museum Worsleyanum, London, 1794, n. fol. (English and Italian
text. The first volume appeared in 1798, the second some years
later). New ed. London, 1824, 11. 4°; Milan, 1834 (only the
Italian text, which is based chiefly on the explanations of E. Q.
Visconti. I have given my references according to the London editions,
appending to them in parentheses the references according to the
edition of Milan). Dallaway, pp. 359 ff. (11. p. no). I visited the
collection in 1S73. The numbers in my list are those of the cata-
logue mentioned above and of the collection itself; the numbers
which are passed over belong to modern specimens.

South of Hull, distant about two miles from the Brocklesby
railway station, lies the extensive estate of the Earl of Yarborough,
called Brocklesby Hall. The sculpture gallery, separated from the
dwelling-house and built under splendid lofty trees, is a plain and
very damp apartment, not at all suited for sculptures, which are
injured by the damp. In it may be seen the few antiquities collected
by the first Lord Yarborough (1749 — 1823. Cf Smith, Nollekciis, 1.
p. 13. Introd. g 54), together with most of the specimens of the
celebrated collection which Sir Richard Worsley (1751 — 1805),
who was at that time Englisli resident at Venice, made at great
cost on a journey through Greece and Italy 1785 — 87 (Introd. § 66).
Lord Yarborough inherited this collection. Since the sale of the
Worsley estate, Appuldurcombe, in the Isle of Wight, most of the
antiques have been deposited at Brocklesby ; the rest are said to be
in the town house (17 Arlington Street) where, however, Waagen
(Ticas., IV. p. 64 ff.) mentions nothing of the kind.

RKOCKI.KSnV 2^9. 227

2. Terminal head of "Sophocles": Miis. Word., CI. 11. i
(PI. 12, i). The head, found by Worsley huiiself in the ruins of the
so-called Prytaneion at Athens in June 1785, is of bad workmanship
of the later Roman period and has nothing to do with tlie great writer
of tragedy. New: nose, breast and inscription. [i^C]

5. Head of Niobe : Spec, i. PI. 35 — 37. Miillcr-Wiescler,
I. 34, 142. Of the head, which with the hair and neck is antique,
only a great part of the nose has been restored ; it was no doubt
originally intended to be let into a statue, and has now been
completed by modern drapery imitated from the Florentine example.
It appears to have been very little if at all touched up. The exami-
nation of the original and the comparison of a cast v.ith the cast of
the- Florentine statue, leave no doubt that the head in Brocklesby is
the finer of the two. The expression of grief in the deep-sunk inner
corners of the eyes is somewhat more strongly marked; the mouth
is very beautiful and noble; the luxuriant curly hair, which falls in
rich masses over the shoulders and neck, intertwined with a fillet, is
of a fine picturesque effect (cf. the Epigrams, Anth. Plan., 133. 134).
The marble of a beautiful yellowish tint, apparently Pentelic of
the finest quality. Lengih of face o'23 (forehead 0-07, nose o-o8,
lower part of the face o'oS). Nollekens sold the head to the Earl
of Exeter, who gave it to Lord Yarborough. (VVaagen, Tiras., iv. p.
506, is inaccurate.) Possibly it is the same head a cast of which
Winckelmann (A'lms/gesc/i., ix. 2, 27) knew of in Rome (cf Alonuin.
Ined., p. Ixxi.) and of which Fea {Storia, 11. p. 199) says that it was
in England (cf Mengs, Opere, 11. p. 11); according to other authorities
this head went to Russia and was there utterly lost sight of (see Stark,
A7<;^., p. 233)- [*C]

7. Terminal head of " Alcibiades " : Mus. Worst., CI. 11. 2
(PI. 12, 2). This head, of late style, dug out at the same time as
no. 2, has just as little to do with Alkibiades as no. 2 with Sophokles.
The features have not been recognised ; they remind us a little of the
so-called Persius of the Villa Albani (Zoega, Bassir., PI. 115). The
hair slightly curled. New : back of head with ears, nose, a large
portion of r. cheek, and breast with the inscription. [* BC^

8. Figure of a Kerkopithekos, cut out of the handle of a
water-vase: Mus. ll'ors/., CI. ni. 10 (PL 18, 2).

9. Fragment of a marble door: Mus. Jl'ors/., CI. i. 14 (PI.
9, 5). On the transverse framework ({uya, iiiipages) numerous bosses
(»}A.ot, bullae) are introduced; the lions' heads in the panels, from

228 P.RdCKI.KSBV lO — 1 4.

which the knockers hang, are among the most favourite means for
warding off evil enchantments {dTroTpoirma).

10. Votive relief to Asklepios and Hygieia : Afus. IVorsL,
CI. 1. 1 (PI. I, i), "Jupiter and Minerva" (cf. Visconti, Afus. Pio-
Clem., V. p. 165). Found at Athens in the year 1785, apparently
on the Akropolis; most likely on the southern declivity, where the
Asklepieion was disinterred not long ago, and where many similar
reliefs have been found (cf particularly Aliitheilungen des Arch. Inst,
in Athens, 11. PI. 14). One of the finest works of its class, much
resembling in style the Parthenon frieze. The upper surface is
somewhat rubbed away, more than would appear from the illustrations.
Asklepios, with the cup in his right hand, is, if we may conclude
from the ])osition of his legs, supporting himself on a staff which does
not appear in the relief; behind him is Hygieia veiled, with the tank-
ard in her hand, which is lowered. These, as deities, are represented
of larger stature than a family standing opposite to them consisting
of a bearded man, a woman and a child, who, with their right hands
upraised, turning the palms towards the deities, make the typical
gestures of adoration. Various interpretations have been suggested
for the two deities : cf. Lebas, Annali dclP Inst., 1845, p. 240 (Zeus
and Europa). Kekule', Hebe, p. 47 (Zeus and Hebe). Overbeck,
KHnstmythohigie,\\. p. 576, note no. Pentelic marble. H. o-8i.
To the r. the relief is incomplete. [*]

11. Middle portion of a sarcophagus. The three Graces
in the usual grouping; the two outside hold each an apple in the
outside hand which is uplifted. On either side r. and 1. a tall vase.
H. 0-34. L. 0-33. \CM\

12. Bust called " Sappho" : Miis. Worst., CI. 11. 8 (PI. 13, 4).
The liair wound twice round the head. The nose has been restored.
The appellation is arbitrary; the work insignificant; the genuineness
of the whole according to Bernoulli open to doubt. [j5C]

13. Fragment of the sepulchral stele of Chairion :
Miis. Worst., CI. I. 13 (PI. 6, 2). Only the bearded head and the
breast of the principal figure are still preserved ; upon the architrave

the inscription Xaipiwv Mu (C. /. G., 734); above it is a row of

front tiles. High relief Pentelic marble. H. 0-33. L. 0-22. [*]

14. Fragment of a votive relief: engraved in reverse, i?/>/.r.
Worst., CI. I. II (PI. 5, 2). Three men and three women, a boy

and a girl, are moving in solemn procession 1. At both ends it is
incomplete. Pentelic m.nrble : very delicately executed, but a good
deal rubbed. H. 019. I,. o'2o. From Megara. [*]

iROCKl.KSBY 17.

liROCKI.F.SliY 15 — 17. 229

15. Head of Aphrodite, of colossal scale, intended to be let
into a (draped) statue. It came originally from (ireece and afterwards
from the collection of Townley into the possession of Lord Yar-
borough. The liair has been but little worked on the top, because,
chiefly from the size of the statue, it was originally concealed by the
metal stephane, for which a groove is introduced ; but there are no
holes for festening it on. By this means the upper part of the face,
by itself unusually high, must once have had a still greater prepon-
derance over the lower part of the face, which is somewhat short.
The hair is smoothed back in free waves, thus allowing the high
triangle of the peaked forehead to stand out even more than it other-
wise would. These circumstances might almost raise doubts about
the appellation of Aphrodite, but they are due perhaps more to the
art standard of the epoch of the original. The cheeks show the wide
treatment of Attic heads, the eyes are directed downwards in some-
what marked manner, and this when looked at in profile does not
contrast well with the retreating forehead; the eyes and mouth have
not much expression. The whole head is decidedly inclined towards
its r. We seem to have before us a later, even copy of a peculiar
type of a good period, which certainly is far behind the head at
Holkham (no. 37). The lobes of the ears are pierced. Pentelic
marble. Length of face 0-35; from the chin to the nose o'lo, nose
o'l I, forehead o'i4. [*C]

16. Relief, flat ; remains of two horsemen galloping 1.,
in chiton and chlamys ; even the bridles have been executed in
marble. This beautiful relief is certainly not sepulchral. To the r.
and at the upper part perfect. H. 0-43. L. o'4i. [*]

17. Girl with two doves, sepulchral relief from the isle of
Paros, found in 1785: Mtis. JFors/., CI. i. 17 (PI. 8, i): the engraving
in its conventional delicacy gives no idea of the peculiar charm of
the uncommon proportions and relief style of this remarkable work,
which must be designated the pearl of the Worsley Collection. See
the accompanying woodcut, taken from a photograph. A girl, in
a Doric chiton, is standing turned r. The chiton is not girdled, and
on the r. side quite open; its diploidion falls back and front down to
the hips. The head is inclined downwards, the 1. leg slightly bent,
the whole frame in repose. On her 1. hand she holds a dove (the
head has been knocked oft") in the manner of a falcon ; with the r.
she presses a second dove to her breast, at the same time putting
her mouth to the beak of the bird to kiss it ;

A'ain iiiellilus eral, siiaiiiquc iioral
Ijisam tarn bate qiiam piiella malrcm.

230 BROCK LESBY I 8.

AW sese a gremio illitts movibat,

Setl ciixttmsiliens vwJo hitc, modo illuc^

Ad solam doiitinam iisijiie pipiahat.

By this ac;ion the diploidion, following the upward strugglings of the
bird, has been gently drawn up. The bent head of the girl is full of
enchanting naivete, and its unusual size (the height of head is nearly
one-fifth, and length of face (o'lo) one-eighth of the whole figure) may
be owing partly to the tender age of the child, partly to a peculiar feel-
ing for proportion. The whole arrangement of the hair, as well as
the treatment of its separate strands, is of almost laboured precision.
The garment is composed of a heavy material, and for this reason
takes only large folds; the nude portions are executed with similar
simplicity. All the contours are so clearly defined that, although the
treatment is flat, a very clear relief is effected. The beak of the
uninjured dove is quite detached from the ground ; the mutilated
head of the other bird was represented in the same way in alto-
relievo. A dowel-hole in the back of the first dove, between the
tips of the wings, shows that there was probably a metal ornament
there, perhaps a cord. The delicacy of the sentiment, the slightly
archaic tranquillity of the action, the well- calculated moderation in
the treatment of the relief, the apparently provincial peculiarities of
the style, finally the beautiful material (Parian lychnites) and its
excellent state of preservation, make the relief, which doubtless
belongs to the fifth century, a specimen of the first rank. The
reHef is bounded below by a projecting rim; to the right and left
(as is generally the case with the older class of sepulchral reliefs) the
slab is not framed in. On the upper surface two holes seem to show
that the stelfe had something to crown it (ciri^c/xa), probably a pal-
mette (i.vBkji.io\). It may therefore be compared with a sepulchral
relief of a girl in similar attire, with a casket in her hands, which also
probably came from the Greek islands, and which is, or was, at
Venice in the Giustiniani alle Zecchere Palace (Thiersch, Reisen in
Italien, i. p. 260, Friederichs, Banstcine, no. 359; published by Mauch,
Bau-Ordnungen, PI. 90, 2); the two are not dissimilar in style. A
sepulchral relief from Thasos, the colony of Paros, may also be
compared with the one before us on account of many analogies in
style {Annali deir Inst., 1872, PI l. Froehner, Miisecs de France,
PI. 39). H. o'So. L. 0-39. Elevation of the relief from the field
0-03— 0-035. [*C]

18. Bust of Demosthenes, very naturalistic in treatment,
like all the portraits of the orator, which universally go back to

BROCKLESBY 23—28. 23 I

the statue of Polyeuktos (cf. Knole, no. i). Modern: nose, part
of upper lip and of r. ear; the I. ear injured. [SC]

23. Statue of a Maenad or a dancer : below life size. She
wears an Attic chiton and a small cloak over her 1. shoulder and
arm; the folds about the leg have all the air of being in motion and
are deeply worked out. Modern: the head, which is thrown back,
the lower part of the r. arm with the thyrsos, half the lower part of
the 1. arm and the pendent border of the cloak. The breast, being
but slightly raised, appeared on that account to Conze not indis-
putably female; he also thought that the folds in the lap had
been worked over, and that a man might be disguised under the
feminine drapery. Figure well designed and not badly executed; the
back however is not finished. [BC\

26. Statue of Asklepias, priestess of Artemis Orthosia at
Megara, where the sculpture was disinterred. Small size. Mus.
Wars/., CI. III. 6 (PI. 16, 2). Ordinary work of a late period. New :
head, r. fore-arm and 1. hand. The inscription, which I have not
compared, runs {C. I. Gr., 1064. Kaibel, Epigr. Gr., S70):

'A^o}iivq Kovptjv ArjTwlSa dox^o.tpav^
'KpT€fuv 'OpOojaifify TToXfajs 7re/t relx^o- TrafTO.
elfd UptjU iy<v ' AaKXTjirids' €k S^ toktjw*'
Trarpos "Evktih^vou ' AaKXijwiadao y^f^ffOtjt^,

cl 5' eu yuvafievoi fi ^Soffav Up-rjida TrjSe deaivfjf
/SovX^s Kal dripLov ipTj(f>ia[(T]ap.£fTjs irep ipiuo.

The sixth line is a heptameter. The form yevia-drjv in line 4 instead
of iyei-TJOrii' is barbarous. [C]

27. Terminal head of "Regulus": Afi/s. IVorsl., Cl. 11. 6
(PI. 13, 2). The name is quite unwarranted, the inscription
modern. . We perceive a distant resemblance to the Scipio heads,
but certainly no identity. Hair only indicated by short lines indented.
New : breast and a piece at the back of the head. \_-BC\

28. Votive relief to Herakles : Mus. Worsl., Cl. i. 3 (PI. i,
2). The hero is lying on the lion's skin with the skyphos in his
r. hand and a wine-skin in his 1. ; quiver and club are near him. The
inscription runs (C /. Gr., 473):

Tifiaio! "ilpa[K\etiTiis? <cai...]7)s 'Hpa/(XtMri;s

[cW€'\d7JKaT[T]V v]6tJ0V.

It seems to bear witness that Timaios and a fellow-countryman

232 BROCKLESBY 29 — 36.

from Herakleia (on the Pontes?) dedicated the relief in consequence
of recovery from an illness. Found at Athens in 1785.

29. Bas-relief in terracotta: Mus. Worsl., CI. i. 15 (PI. 7,
i). Mijller-Wieseler, i. i, 4. Purification of a terminal head by
a Satyr, with the assistance of two female slaves and under the super-
intendence of a woman, perhaps a priestess, who carries a branch
intended for the adornment of the Hermes. In a replica in the
Louvre (Campana, Opere in Plastka, PI. 44) a bunch of grapes is
represented instead of the sponge ; by the whole therefore a wreath-
ing of the Hermes is meant. The same motive was probably origin-
ally common to both copies, and one of the two has been incorrectly
restored; which it is could be learned only by exact investigation.

30. Kybele, with the lion at her side, the back of her head
concealed by her cloak. No modius. The hands restored. Ordi-
nary workmanship. [C]

31. Sepulchral relief, Attic: Mus. Worsl, CI. i. 2 (PL i, 3),
" Protesilaus and Laodamia." An armed warrior, of whose spear
only a small part is expressed in the marble, is taking leave of his
wife, who is sitting down; only scanty traces of her are preserved.
A veiled female, with her head lowered, her r. hand on her cloak,
stands behind the warrior. Fine bas-relief with powerful outlines.
Pentelic marble. H. o'37. L. o"3o. The restoration given in the
engraving does not appear in the original. [*C]

32. Mask of a bearded warrior: it looks as if it were the
corner of a sarcophagus cover, and yet it is too large. H. circa 0-48.
[C]

33. Terminal bust of the youthful Herakles, crowned with
ivy, with a long fillet hanging down: Mus. Worsl, CI. 11. 5 (PI. 13, i).
A beautiful head. Pentelic marb'e. Modern: nose, the greater
part of the mouth, and a piece of the chin; also 1. side of breast.
[*C]

34. Fragment of a sepulchral relief, lower part : Mus.
Worsl, CI. I. 4 (PI. 2, i). A man in chiton and chlamys is offering

his hand in farewell to a woman sitting down ; she is not veiled.
Beside her stands another woman ; while behind the chair stands a
man in a cloak, his posture denoting grief Under the chair lies a
dog. Very pretty, but not particularly delicate. From Megara.
Apparently of Pentelic marble. [*]

36. Painting : Glaukos and Skylla, composed in exact
accordance with Ovid {Met., xiii. 907 ff.) : Mus. Worsl., Vol. I.
p. 103 (fazK d' agg., no. i). Penna, Viaggio delta Villa Adriana, iv.

UKOCKLKSbV 'ij — 40. 233

PI. 141. Moil. (Mr Inst., III. 52, 6, cf. Vinet, Annali, 1843, p. 184.
At the r. end Skylla is standing on a rocky shore, the upper part
of her body nude, her legs and trunk draped in her cloak, the border
of which she is raising with her 1. hand ; on her throat a necklace.
With her r. hand she waves refusal to Glaukos, who from the sea
assures her of his love. He is bearded; his feet terminate after many
coils in a fish's tail. The painting is said to have been discovered
in Hadrian's Villa in r 781), together with nine others which were
published in i8oi by Carloni. It has either been entirely painted
over, or (a hypothesis which seems to me more probable) is entirely
spurious. Bernoulli shares my doubts. We mu.st not forget that in
the last century, when the Herculanean discoveries made so much
stir, the fabrication and sale of so-called "antique" paintings was
carried on in Rome with great energy; and we are expressly told
that many of these paintings found their way to England; cf.
Winckelmann, IVerke, 11. p. 46, 261. Fea, Storia delle Arti, 111.
p. 2r9. Azara in Opere di Mengs, ed. Fea, p. xxxii. It is hardly
likely that so profitable a trade should have been brought to an
end by the death of the chief dealer, Guerra (1761). [*^]

37. Draped female statue: Mzis. WorsL, CL iii. 5 (PI. 16, i),
''Venus." Clarac, iv. 591, 1294. A woman stepping forward in a
graceful, almost affected manner, on the 1. leg. From the r. shoulder
which is somewhat lowered the chiton has slipped, and from her
breast; her very ample cloak envelopes her 1. arm, back and legs in
its rich folds. She has lowered her r. hand to lift the cloak near her
knees, and her 1. lies on the border of the garment. New : the
head; it is uncertain what further restorations may have been made.

39. Fragment of a votive relief, 1. end : Mus. WorsL, CI.
I. 10 (PI. 5, i). A man, two women (the foremost veiled), two
children and female slave with a large covered box on her head, are
moving r., to a space probably once occupied by a dead man, ren-
dered with heroic treatment (cf. no. 45), or else where gods were
represented. Ordinary work of a good period. Pentelic marble.
Found in Eleusis. H. o'42. L. o'29. [*]

40. Siren, tearing her hair with both hands: Mus. WorsL,
CI. I. 7 (PI. 3, i). Over the arms on either side appear the
upper curves of the wings, the lower tips of which, like the tail,
were not fully given in the relief, but were originally only expressed
by colour. The whole is a fragment of the rounded top of an
Attic sepulchral stelfe. The upper edge was partly defined by tlic

234 BROCKLESBY 41 — 55.

upper contour of the wings ; now the piece is sawn ofT horizon-
tally below and vertically on either side. (Cf., for similar adorn-
ment of sepulchral monuments, Schrader, Die Sirenen, p. 86. Ste-
phani, Compie-Rendti, 1866, p. 41. Conze, SitzungsbericJite der Wiener
Akadetnie, lxxi. p. 326,) Very bold relief Pentelic marble. H. o"32.
L. 0-19. [*]

41. Fragment of a child's sarcophagus, represent-
ing Cupids racing in the circus. Only one Cupid preserved, who
is riding, and beside him is a led horse. H. o"28. L. o'20. [O/]

42. Fragment of a relief: Mus. IVbrs/., CI. i. 19 (PI. 8, 3),
"Theseus." The name arises from the fact that in the engraving a
lion's skin is on the head of the horseman, who is galloping r., but
this skin is not in the original; in its place there is a flaw in the
marble. Small size. Delicate sculpture in slight relief, in the style
of the Parthenon frieze, unfortunately much rubbed; may have be-
longed to a sepulchral relief Pentelic marble. " Discovered amidst
some ruins in the Temple of Minerva in the Acropolis." H. 0-20.

L. 0-13. r/^] _

43. Mosaic, of large stones : an owl in a chariot, drawn by
two geese. [SC]

45. Fragment of a sepulchral relief, r. end: 3fus.
Worsl., CI. I. 12 (PI. 6, i), "Pluto." Much more likely to be the
upper part of the body of a dead man to whom heroic honours
are assigned, looking somewhat like Pluto. He is reclining before
a table, prepared to receive the gifts and adoration of his worship-
pers. (Cf no. 39.) Beside him, near a large krater, stands a youthful
slave. Good alto-relievo. Pentelic marble. H. 0^34. L. 0T3. [*]

48. Fragment of a relief. A boy with a cloak on his back
is with evident effort carrying a burden on his back. The motion
of the figure is graceful; cf the boy furthest 1. in Millin, Gal. Mythol.,
PI. I, 2. The face has been restored. The antique origin is not
quite free from suspicion. [C]

49. Fragment of a relief: Mus. Worsl. , CI. i. 25 (PI. 9, 6),
"Pisistratus." A bearded warrior and charioteer in chariot.

53. Fragment of a sepulchral relief, Attic: Mus. Worsl,
CI. I. 5 (PI. 2, 3). A horseman armed with breastplate and shield is
galloping 1. The inscription on the field cannot be completed with
certainty :

.e/> kX^j IToXua/) - - ^ S\tj3-K^K\j\Qiv\.

(C. I. Gr., 580). Much defaced. [*]

55. Small bust with the modern inscription Telcsphorus. [C]

liKOCKLKSliV 60 — 6-J. 235

60. Small terminal bust of Asklepios, much resembling
Zeus, with a twisted roll round the head. Alabaster. The inscriiMion
Juppiter 01. modern. Miis. WorsL, CI. 11. 9 (PI. 13, 5). {BC\

62. Statue of a boy : Mus. Word., CI. in. 7 (PL 16, 3),
"Genius." He is standing in a graceful attitude on his r. leg,
putting the 1. foot forward ; the chlamys is hung round his shoulders
and 1. arm, the r. arm and the 1. are bent at right angles. The
head let into the figure is not certainly a portrait. A riband goes
through the hair, which is arranged in a top-knot over the forehead.
Restorations unknown. [/>]

64. Relief of a sacrificial ox : Mus. WorsL, CI. i. 16 (PL
7, 2). The ox is adorned for the sacrifice with a laurel wreath
(infiila) and a broad embroidered fillet " Found in Magna Graecia,
and thence transported to Naples, where it remained some time in
the palace of His Grace Carafla of Colubrano."

65. Sepulchral relief: Mus. WorsL, CL i. 6 (PL 2, 2). In a
slightly sunken field the bearded Ion is offering his r hand in
farewell to Aristokleia. She is sitting down and is fully draped,
but unveiled. The little Kaphision is standing by her chair look-
ing up to her. Above is inscribed 'Xiav and 'Apio-TOKXtia ; in the
relief field itself Ka<^i(rio)i'; over the field KaXat is cut in. (C / Gr.,
1 09 1, faulty.) Style of the fourth century. Flat relief The slab
has been sawn off above and below. H. 0-35. L. 0-24. [*]

66. Cinerarium of Saenia Longina : Piranesi, Vast e
Candelabri, PI. 96. The rape of Persephone is delineated above, as
she is being forcibly carried off in a quadriga by Hades. The upper .
part of the relief and the cover are, according to Conze's opinion,
modern ; on the pediment of the latter may be seen a bust of
Mercury between an overturned basket and a cock. Below the
relief is the inscription Saeniae Longinae \ \_fili\ae \Ge\rmani'\ci\
The letters in brackets are modern introductions. The urn is of
good workmanship and conies from Rome. It was formerly at
Chelsea at the house of the first Lord Yarborough's father-in-law,
G. Aufrere, Esq. (cf Welcker, Zeitschrift fiir die alte Kunst, p. 195.
Forster, Raub der Persephone, p. 126. Overbeck, KunstmythoL, iii.
p. 644, no. 7). H. o'42. L. o'4i. [CAf]

67. Fragment of a sepulchral vase ; very large size : A/us.
WorsL, CI. I. 14 (PL 6, 3). The bearded Moschos (MoVxos), who

is followed by a small attendant, is offering his hand to a lady sitting
down. Of the latter figure only a very small portion is preserved.
Pcntelic marble. Found at Athens. 11.0-27. L. 0-17. [*C]

236 BROCKLESBY 69 — 89.

69. Small terminal head, with the modern inscription Sappho.
New: the whole profile and the bust. \BC\

70. Small terminal head, bearded, with the modern in-
scription Ermaais, i.e. Hermarchos. \BC'\

72. Small terminal head, with the modern inscription Phere-
kyda: Miis. Worsl., CI. 11. 4 (PI. 12, 4). The head is stretched
forwards and somewhat upwards, the eyes are put in unevenly, the
ears stand out. [.5(7]

74. Terminal head of Herakles, with the lion's skin over
the head, the inscription Hercules being modern : Mus. Worsl., CI. 11.
10 (PI. 13, 6). [C]

76. Marble beard, from Athens: Mus. Warsl., CI. i. 21 (PI.
9,2)-

79. Foot, covered with sandal : the twisting of the straps very
distinctly indicated. [C]

82. Eros, painfully dragging at Herakles' club and lion's skin :
Mus. Worsl., CI. in. 4 (PI. 17, 2). The portion of the club which
touches the head genuine ; the rest of the club and the r. arm new.
[*C]

83. Statue of Athene, less than life size. She is resting on
her r. leg, the 1. slightly bent, her r. arm rests on her hip. She wears
a girdled doubled chiton ; the aegis is divided into two rounded halves.
The motive pleasing and simply worked out. Modern : the helmeted
head, the r. arm (which has been correctly restored), the 1. arm and
the oval shield on which rests the 1. hand. [C]

84. Female head, modern; with the hair in the stvle of
Agrippina. \BC^

85. Female head, slightly inclined 1., with a double fillet in
the hair : Bernoulli considers it a tolerably exact replica of the
Venus of Aries in the Louvre. A delicate work. New: half the
neck, the nose, the lower lip. \BC\

86. Marble throne: Mus. Worsl., CI. in. n (PI. 19, 2).
Originally belonging to the celebrated Fulvio Orsini, and afterwards
added to the curiosities in Villa Montalto, bought by Jenkins.

87. Marble chair, of the same origin; Mus. Worsl., CI. in
1. (PI. 19,3).

88. Bust of "Achilles," modern: Mus. Worsl., OX n 7 (Fl

89. Bust of Caracalla ; the neck and paludamcntum un-
broken. The back part of the head is too small. [*]

r.KncKi.Ksiiv 90. zij

90. Dionysos and Eros : Miis. U'orsl., CI. iii. i (PI. 14),
"Bacchus and Acratus." Clarac, iv. 690, 1626. Miiller-Wieseler, 11.
32, 370. Dionysos, with a fillet and an ivy wreath in his hair and
with curls falling to his shoulders, stands in repose, his 1. hand
supported on his hip ; a chlamys lies on his r. shoulder, falling
across his back and partly concealing his 1. arm. He is laying his
r. hand on the r. shoulder of the youthful Eros, a figure of smaller
scale, who stands by him and over whose breast a nebris hangs
crosswise. Eros stands with his legs crossed, holding a goblet
to his breast with both hands and looking up at the god. Be-
tween the two is a vine-stock. The group has received important
restorations. The 1. arm of Dionysos and the drapery on it (but
not the hand) are new, and so are his legs and r, arm; the por-
tions of the chlamys which cover his back are old. The head and
neck are undoubtedly antique, but they seem somewhat too small
and perhaps do not really belong to the figure. New : the head
of Eros; his r. arm from the shoulder, with the goblet; also his
1. hand and half of the fore arm, a portion of tha skin, nearly the
whole of his wings, and the lower parts of his legs ; also the vine-
stock and pedestal. The nebris is a rather remarkable attribute
for Eros to bear. There is besides at the back of the loins a
round smooth circle, with an iron socket, as if a little tail had once
been fastened there, and these facts give rise to the thought whether
the Eros was not originally a Satyr. But in this case the tail would
without doubt have been made of the same piece of marble with the
statue itself; the iron socket rather goes to show that the transforma-
tion into a Satyr was due to a restorer, to whom moreover the Satyr-
like head with the bristly hair may be referred. But a more modern
restorer has very rightly filled in the wings of the young figure, for
the part of the left wing adhering to the back is undoubtedly ancient.
Now it would be difficult to admit a winged Satyr (cf. Zoega,
BassiriL, PI. 88; Miiller-Wieseler, 11. 40, 479), while the Bacchic nebris
or panther's skin, is quite suitable to Eros as the companion of
Dionysos. According to this view it was right to take away the little
tail, and the regeneration should have been corpplcted by removing
the Satyr head of the first restorer and putting instead a head of Eros.
Finally it is worth mentioning that there is no material coherence
between the two figures in their antique parts. But it would be too
sceptical on that account to raise doubts about their having originally
belonged to each other. The marble of both figures is Pentelic
of the same quality. Resides, great praise has been rightly given to

238 BROCKLESBY 9I— lOO.

the harmonious flow of the lines; the fine grouping; the beautiful
treatment of the nude, particularly in Dionysos where " the mascu-
line energy of youth is admirably blended with female softness
and virgin delicacy." The whole group is of excellent effect, and
among the many similar must take a high rank. We may be
reminded of Thymilos' group of Dionysos and Eros in the Street
of Tripods at Athens (Pans., i. 20. 2). H. about i'37. [*C]

gi. Marble ship, Roman : of rather clumsy construction. In
front, considerably raised, a beak {rostrum) is introduced in the
form of a bird's beak, over that is a (modern) animal's head; above
the foredeck is a battlemented turret (for the most part modern).
The hull of the ship has three tiers one above another; in the middle
and upper ones in the forepart of the vessel are 1 1 holes for the
oars. The after half of the uppermost tier is ornamented in the
fashion of the stern of a galley with a double row of relief fields, one
over the other ; this adornment is varied on starboard and port
respectively. In the lowest row on the starboard side next to the
oar -holes is a bucranium, then an eagle, a snake, a thunderbolt;
on the port side is a wreath thrice repeated. Standing somewhat
out over the bucranium is a head with a crown of rays, an oar, an
ornament of branches, and a Capricorn ; on the port a bearded head,
a trident surrounded with two dolphins, ornamental branches, a sea-
panther. Finally there projects a long way out from the stern a kind
of balcony (on it there are two half-moons on the starboard side and
one on the port); from which the aplustre {a<pXacrTov) rises up; in the
lower field of the latter is a Capricorn, in the upper one a crab (on the
port a helmet below and a Janus head above); the uppermost portion
of the aplustre is modern. Steering paddles are not indicated. [C]

96. Female head, with a coif. Small size. Nicely executed
but somewhat rubbed out. [*]

97. Bearded head, with the modern inscri])tion Anacreoyi :
Mils. JVorsL, CI. II. 3 (PI. 12, 3). The antique head is fastened on
to a modern marble slab. \_BC"\

98. Satyr head, small and delicate, with two little horns and
pointed ears. It is of the tender kind that we see for example in the
statues of Cossutius Cerdo (Brit Mus. Graeco-Roman Sculpt. No.
188, 190. Mus. Marbl, 11. 33, 43). New: nose and neck. [* C]

99. Fragment of a sepulchral relief. A woman is repre-
sented in complete drapery, with wavy hair. Coarse, of a late epoch.
H. 0-30. L. 0-14. [*■]

100. Head of an empress. The style of hair points to the

BROCKi.Ksnv loi — no. 239

beginning of the 3rd century. Said to be Julia Cornelia Paula.
New : nose, mouth, chin, r. eye. [-^C]

loi. Relief of Artemis facing r. in girdled doubled chiton,
her r. hand supported on her hip, her 1. hand somewhat raised and
holding the long straight bow. To her 1. a deer standing in repose.
The proportions unusually slender. Low relief Greek workmanship,
very commonplace. H. c^i. L. 0-17. [*]

102. Bust of Herakles. The breast new. [C]

103. Torso of Aphrodite, presented by the sculptor Emil
Wolff in Rome to the Karl of Yarborough.

106. Head of a Roman boy, with straight hair, designated
" Britannicus." Small size. Good work. [£]

108. Upper part of a beautiful female portrait statue
("Muse") purchased a.d. 1850 from the Bessborough collection in
Roehampton (Introd. note 151). The body is covered to the throat
by a fine cloak of which one end is thrown back and falls over the 1.
shoulder. The management of the folds, which are determined
mainly by the position of the arms (the r. lies across the body, the
1. is lowered), is very graceful, and reminds us of the delicacy of
terra cotta statues. The pretty head seems to belong to the rest
(Conze thinks it modern); it is inclined somewhat forward and
towards the r. shoulder; the hair is treated simply and gathered up
in a knot behind. Nose and 1. hand new. Of Greek, apparently
Pentelic, marble. P-^C]

io8» (let into the pedestal of no. loS). Relief of good Ro-
man work. Two Satyrs and a Bacchante ; one of the Satyrs is
swinging a kantharos, of which he holds the handle by one finger. [C]
South Ijdrarv.

109. Statue of an Egyptian priest: jl///s. jrorsl.,C\. iii. 8
(PI. 3, 7). Behind the back is an obelisk with an hieroglyphic inscrip-
tion. Basalt.

I cannot say where the following four specimens represented in
the engravings, but not exhibited with the other marbles, are at
present to be found.

no. Votive relief: Afi/s. JVoisL, CI. i. 9 (PI. 4). Miiller-
Wieseler, 11. 44, 555. A man, clothed in chiton and chlamys,
followed by three females also clothed, moving with light steps
before an altar of rough stones in a rocky grotto, over which Pan,
with goat's legs, is sitting. According to the ingenious explanation
of Visconti, the figures are Kekrops and his three daughters, Aglau-
ros, Pandrosos and Herse, and the locality would be the grotto of

240 BROCKLESBV III — II3.

Aglauros, on the northern rock-dechvity of the Athenian Akropolis,
near the celebrated grotto of Pan (Eurip., /<?;/, 492 fT., 938, 1400).
This explanation is borne out by the beard of the supposed Kekrops.
But we see from the drawing that the face is entirely rubbed, and
the short drapery would be very surprising in king Kekrops. We
might rather incline, following the analogy of numerous similar
reliefs (of Michaelis, Annali dell' Inst., 1863, p. 311. Archdol.-
Epigraph. Mittheiliingen aus Oesterreich, I. PI. 1), to recognise
Hermes as leader of three nymphs, for it is well known that they
were often worshipped with Pan. The large bearded head at the
r. end would indicate a fountain, or a river. From the 1. approaches
a troop of worshippers, represented as of less magnitude. They
lead a ram as a sacrificial offering and among them is probably
the donor of the relief, who came from the Attic demos Phlya [d
Seii/a -JiWov <I>Xu£iis dvidrjKiv, C. I. Gr., 469). Afus. JForsl. gives
no fuller information respecting the origin of the reUef; Leake's
assertion {Topogr. of Athens, p. 482, 2nd ed.) that it was found
near the Akropolis of Athens is probably dictated only by Visconti's
explanation.

111. Fragment of a relief, from Megara: Mtis. Worst.,
CI. I. 8 (PL 3, 2), "Telephus and Auge." A bearded man is sitting
on a block, holding forth his r. hand; beside the block appears a
small doe or fawn ; near the man stands a woman. Is it votive ?

112. Small statue of Herakles, discovered in Egypt: Mus.
Worst., CI. HI. 3 (PI. 17, i). Clarac, v. 795, 1986. The hero, his

head adorned with fillets and a wreath of flowers, is quite drunk
and is moving forward with unsteady steps ; he held his club on
his shoulder with his r. hand; the lion's skin hangs over his out-
stretched 1. arm ; the hand is broken off, but probably held a goblet.
(Cf. Margam, no. 4.)

113. Statue of Eros stringing his bow, in the favourite
composition: Mus. Worst., CI. in. 13 (Pi. 19, i). Found in 1793
below Colonna (Labicum).

The group of the Nile, from Ostia {Mus. Worst., CI. in. 2,
PI. 15), is said by Mr F. Cook of Richmond to be in his collection
at Cintra, Portugal (Gurlitt, Arch. Zeit., 1868, p. 84, no. 1).

I know not what has become of the beautiful Worsley Collection
cf Gems, formed in Rome, Athens, Egypt and Constantinople {Mus.
Worst., I. p. 2 [p. xx.xviii.]), which, it may be observed, included also
Sir W. Hamilton's Gems (Visconti, Mi/s. Pio-Clcin., vi. p. (>i ^lil.).
Cf Mus. Worst., CI. IV. (PI. 20—31).

BKOOM HALL. CAMHKIUGE. 24I

]!ROOM HALL (Scotland).

In this castle, near Dumfermline, the property of the Karl of
Eiuix, may be seen a number of smaller fragments of reliefs and
inscriptions, which have been let into the walls. The cele-
brated Lord Elgin brought them with him from Athens. Even
although, as is Mr A. S. Murray's opinion, they are " of no con-
sequence," still a careful examination is much to be desired on
account of their origin.

CAMBRIDGE.

The principal collection at Cambridge is now located in the base-
ment of the magnificent Eitzwilliam Museum, a smaller number in
the staircase well of Trinity College Library. It is much to be
wished that the latter should be deposited in the first-mentioned
locality, all the more as their present place of preservation is utterly
unworthy of them.

EITZWILLIAM MUSEUM.

Conze, Arch. Anzeiger, 1864, pp. i6g if. Huebner, //'///., 1866,
p. 301.

The sculptures of this Museum are to be divided into two princi-
pal groups. CJne, formerly in the vestibule of the University Library,
comprises the donations of E. D. Clarke (Introd. § 67) and of
some other amateurs, the objects composing which are derived from
the soil of Greece. Cf Clarke, Greek Marbles brought from the
shores 0/ the Euxine, Archipelago and Mediterranean, Cambridge, 1809.
(The explanations here given of the several works of art are in most
cases so thoroughly mistaken, that pious regard for the honoured
author bids one pass them over in silence.) Spiker, Jieise diirch
England, 11. pp. 293-296. — ^The second portion originates in the
will of John Disney, who bequeathed to the University of Cam-
bridge the sculptures of the collection of antiques founded about
the middle of the last century by Thomas Hollis and Thomas
Brand, and increased in the third decade of this century by Disney
himself (Introd. §§ 41, 87). This collection is derived entirely from
Italy. It is interspersed with much that is spurious. Cf. Museum
Disneianutn, being a description of a collection of ancient marbles, &c.
in the possession of John Disney, Esq., London, 1849, fol. (with un-
usually bad illustrations); Gerhard, Arch. Zeit., 1847, pp. 157 — 160;
-M. C. 16

242

CAMBRIDGE — FITZWIl.I.IAM MUSEUM I.

Wieseler, Gottingische gel. Anzeigen, 1849, pp. 441-462. — Owing to
the entirely different origin and style of art of the two divisions it
has seemed convenient to keep them distinct from one another and
to include in one or other of them the few similar specimens of
the collection, and then in conclusion to notice a few other anticjues.

Sculptures collected in Greece.

Among these the place of honour is taken by

I. (Clarke, xiv.) Fragment of a statue of a Kistophoros
from Eleusis, in former times generally named Ceres : colossal scale.
Its present condition is represented by the illustrations, which are
however not accurate in matters of detail, in Museum Worsleyamitn,
CI. in. 12 (PI. 18, 3 Mil.), in Clarke's work, p. 24, and in Gerhard,
Antike Bildwerke, PI. 306, 5 ; for a front view restored after Flax-
man's design, see Clarke's frontispiece ; Gerhard, /. r., no. 4 ;
Miiller-Wieseler, n. 892. A better illustration is given in the
accompanying plate. Upper part of the body to about the
lower half of the breast, head and cista are preserved. The r.
breast and shoulder are destroyed. Professor Sidney Colvin has

however found in Eleusis a piece of shoulder and upper arm, with
the chiton depending from them, a plaster cast of which is in
Cambridge (fig. i). There can be no doubt as to its belonging to
the specimen in question; unless, indeed, we have to regard it as

CAMBRIDGE I

CAMBRIDGE — KITZWI 1,1,1 AM MlSia.M I. 243

the fragment of a second exactly corresponding copy. The 1. shoulder
together with the junction of the ami is preserved ; the arm was
somewhat advanced. Chiton fastened together on the shoulder with
three buttons. Cross bands drawn slantwise across the breast ;
where they cross each other, a Medusa's head carved in relief,
as a symbol to avert harm (diroTpo-iraiov). Countenance of the statue
completel)' destroyed. Rich waving hair falls down behind in a not
very lengthy mass, which is in one place, on the nape of the neck,
confined by a band. On the head a very small porter's pad (rvXr],
KV((f>a\Xov) whereon is sustained the large round vessel which people
have been inclined to designate as a Kavovv or xaXa^os (and hence
too the bearer as Kanephoros or Kalathephoros). It is however
likely to be best, considering the general shape, the proportion of
the height to the breadth, and the horizontal division into two parts,
to regard it as the mystic kio-tti] (Jahn, in Hermes, in. pp. 317 — 334);
cf. the representation of this vessel on the Eleusinian Propylon
of Appius Claudius Pulcher (BuUett. ddl' Inst., i860, p. 226; C.
I. Laf., I. 619, III. 547; Lenormant, Rcch. arclieol. ct Eleusis, p.
390), and, set on a pedestal with three feet, on a piece of en-
tablature from Eleusis {Utied. Antig. of Attica, ch. 4, PL 7). Cista
very richly decorated ; see Fig. 2, p. 245, in which its various
courses of ornament have been restored as accurately as possible
from their unmutilated portions. Its lower margin is encircled
by a braided band {e), irregularly bordered below, along a short
portion of its course only, with a beaded moulding {astragalus) {/).
The next belt {(/) exhibits in the front a vessel in the form of a
tureen, the ■nrXiji/.oxorj of the Mysteries (Beule', Monnaies d' Athhies,
p. 156; Botticher, in Philologus, xxiii. p. 234) and wands with
regular projections laid crosswise. These are too much worn away to
enable it to be said with certainty whether they are stalks of a plant
or, perhaps, decorated torches in the manner of the reliefs quoted.
Then on either side a rosette, next to which are three ears of com,
then again a rosette, then a longish object laid slantwise, much
abraded, probably a torch of a broader kind, though this is very
imcertain. Above this belt appears (c) a projecting roll (torus) formed
of leaves, upon which are seen berries in relief; this roll is crossed
at intervals by bands, and bordered on either side with a bead and
reel moulding. This is the middle of the cista. Above this a
broad belt with beautiful palmette ornaments (1^). Lastly (a) remains
of a low cymatium moulding, too much mutilated to be restored,
form the upper border of the cista. The head as well as the

16—2

244 CAMBRIDGE — FITZWILLIAM MUSEUM I, 2.

cista is backed by a flat slab of marble 030 broad, which proves
that the figure was employed in architecture. Hence it is further
clear why the cista has no cover, but is flat on the top. On this an
epistyle or something of the sort would rest. The restoration of the
statue is to be obtained from the similar statue in the Villa Albani
given by Gerhard, Ant. Bildw., PI. 94, 2; Clarac, iii. 442, 807. It
will have both arms raised symmetrically to the cista, the preserved
remnants of the arms being perfectly conformable with this attitude.
The older explanation of the figure as that of Demeter, perhaps
the very image from the great temple, has been given up ; Hirt
{Geschichte der Baukunsf, 11. p. 21) having first regarded it as a
Kanephoros; Preller {Demeter und Persephojie, p. 375) as a Kalathe-
phoros; while Leake {Demi of Attica, p. 162, 2 ed.) rightly proposed
the name Kistophoros. (For the further literature of the subject cf
Gerhard, Akad. Abhandl., 11. p. 408, note 198; Miiller-AVieseler,
Denkmdler, 11. 8, 92.) The style does not point to the Roman
period, in which people are disposed to place it on the evidence of
an inscribed block (cf Wheler, Journey, p. 428, Boeckh, C. I. Gr.,
389), but rather perhaps to the fourth or third century before Christ;
one might refer it to the fresh decoration of the sanctuary under
Demetrios of Phaleron (Vitruv., vii. praef 17). Execution, with
deeply grooved folds, thoroughly in keeping with a figure designed
for architectural decoration. Pentelic marble. H. 2-15. H. of
cista 070 (viz. a o'i3, b 0-17, c 0-14, d o'ly, c 0-9), of head 0-55, of
neck 0-19, of part below 071. With regard to the history of the
monument, attention was first paid to it in a. D. 1668 (Les Monceaux
in C. Le Bruyn's Voyages, Paris, 1725, v. p. 492); and all the
allusions made to it by earlier travellers have been collected by
Clarke (pp. 12 — 37, Travels, 11. pp. 772 — 790), who in company with
J. M. Cripps (also of Jesus College, Cambridge), was lucky enough
(a. D. 1801) to get possession of this colossus in spite of the ob-
jections of the people of Eleusis, and to ship it with great trouble.
The vessel was wrecked off Beachy Head, but the statue was rescued.
[* Col'Mi]

2. (Clarke, xvi.) Fragment of a statuette of Aphrodite:
sketched by Clarke, Travels, 11. i, p. 130, found in some ruins at Ku-
shunlu Tepe near Baramitsh in the Troad, where Leake {Asia M., p.
274) places the site of Kebrenfe, cf Clarke, p. 127. Motive on the
whole like that of the Aphrodite of Melos. The goddess stands on
the r. foot, the 1. leg being bent and the foot placed in a somewhat
raised position on a projecting portion of the rocky base. Both legs

246 CAMBRIDGE — FITZWILUAM MUSEUM 3—5.

shrouded in the cloak, one end of which falls down in copious folds,
not however thrown from the hip over the 1. thigh and so down its
inner side, but on the outer part of the thigh. Near the 1. foot a
low round base, with the remains of a female statue in a long chiton
and cloak preserved about as far as the knees. Of the Aphroditfe
itself there are still preserved the draped lower limbs and a small
portion of the nude body. A hole on the top points out that
the upper part was worked in a separate piece of marble. Execution
ordinary. Coarse Parian marble. H. 0-47. Cf. Preimer, Ueher die
Venus voti Milo, Greifswald, 1874, p. 39. •[*C]

3. (Clarke, XXXVI.) Mother of the gods{?) ("Ceres"). Small
figure in chiton and cloak, sitting on a throne, both arms in the lap.
Attributes not recognisable, the little figure being altogether much
defaced. The head, originally veiled, and feet are wanting. Coarse
work. Pentelic marble. H. 0-19. From Athens. [*]

4. (Clarke, xi.) Pan ; rpoTraioc^dpos, figured after Flaxman's
restoration in Wilkins' Antiq. of Magna Graecia, p. 71. The goat-
footed god stands quite straight. Upper part of the figure as far
as half the thigh clad in a rather stiff cloak apparently of leather.
In the lowered 1. hand he holds the syrinx, the r. arm Hes bent
before the breast. Head missing, but remains of the long beard
extant. Back set against a marble column of irregular round shape,
which apparently represents the trunk of a tree. Apart from this
detail our statue corresponds closely, even in size, to a second copy
in the Theseion at Athens (no. 48; Miiller-Wieseler, 11. 43, 532;
Clarac, iv. 726 F, 1736 K), found in the Peiraeus, which exhibits
the god standing against a square column (cf. Wilton, no. 144). Our
statue was "discovered in a garden below the grotto of Pan at the
foot of the Acropolis of Athens" (Clarke, Travels, n. 2, p. 479).
It undoubtedly served once for the decoration of a column of a
balustrade, and agreeably to this the still traceable iron cramp on
the top is to be explained, not as serving to fasten a tropaeon (cf.
Annali dell' Inst., 1863, p. 310). Pentelic marble. H. 075; in-
clusive of the basis, 0-85. [*C]

5. (Clarke, xxxiv.) Eros. A tall shape, most likely a tree-
stem or piece of rock (certainly not a "female figure"), is hung with
a large drapery, one of the depending corners of which is encircled
by the r. arm of a little Eros clinging to the tree. He stands quite
nude ; r. leg somewhat advanced ; curly head a little raised ; 1. arm
lowei ed, but preserved only in its upper half. Horizontally attached
to the tree behind the 1. thigh a round object, broader in the middle,

CAMISRinCE— FITZWir.I.IAM MUSEUM 6—12. 247

in which Clarke recognised, without doubt wrongly, the torch of
Eros or a club. It seems to me to be a phallus, introduced here
owing to its power of averting evil. Coarse-grained marble. H. 0-40.
"Found in Egypt, and taken from the House of the French Institute
in Grand Cairo." Cf. Clarke, Travels, 11. 2, p. 47. [*]

6. (Clarke, xxxii.) Male torso, apparently belonging to a
youth ; lower part of the body and 1. arm in a cloak, 1. hand lying
on the hip and holding a corner of the cloak. Breast and body nude.
Lowered r. arm presen-ed only where it joins shoulder. Head and
legs below the mid-thigh missing. A similar motive recurs in no. 32.
Good spirited e.xecution of simple and beautiful effect; worked
quite carelessly at back. Parian marble. H. 0-57. Brought from
Knidos by R. Walpole and presented 1808. [*]

7. (Clarke, xxxviii.) Right hand of a colossal statue, male :
treatment adequate to the dimensions. Very white marble. Clarke
brought the specimen from Larnaka in Cyprus; it came originally
from Paphos. Cf. Clarke, 2'ravels, 11. r, p. 335. [*]

8. Fragment of a column, with a cavity on the top in the
capital. Before it stands a terminal figure of Dionysos with long
hair and ivy-crowned. Square holes in the place of the shoulders.
Dark green stone. H. 0-44. [*]

9. (Clarke, XXVI.) Bust called "Juno," found on the same
spot as no. 2 : sketched in Clarke's Travels, 11. i, p. 130. A female
head and neck, with a fillet in the hair, which is taken up from the
sides and all gathered into a knot on the top of the head. Nose
broken off, mouth much mutilated, back of the head split off. Head
of good design, but superficially executed, apparently belonging to
an Aphrodite. Greek marble. H. 013. L. of face o-i6. [*]

10. (Clarke, XIX.) Comic mask : bearded, the r. eye raised
and wide open, the 1. drawn down ; wrinkles of the forehead much
distorted ; hair arranged awry ; laughing mouth wide open. In the
eyes traces of colour. The mask is left rough behind. H. 0-26.
Br. 0-24. " Found in the ruins of the proscenium of the theatre
at Stratonicea, in Asia Minor by R. Walpole, and presented by
him." [*]

11. (Clarke, xxxiii.) Fragment of a knotted club, lower
end ; flattened out at the boUom so as to be capable of standing
upright ; apparently a votive offering, perhaps to Herakles. From
Athens. Coarse-grained Parian marble. H. 0-39. [*]

12. (Clarke, xxxvii.) Lion's paw, large scale, resting on
a tapering block, which seems to have been let in somewhere.

248 CAMBRIDGE — FITZWILLIAM MUSEUM I3— 15.

Paw broken away above. Pentelic (?) marble. H. 027. From
Athens. [*]

13. Fragment of irregular shape, broken at the top and both
ends and rounded irregularly underneath. Scarcely a piece of a
ship ; rather, of a tish. Upon it is engraved the outline of a dolphin,
and above the archaic inscription, running r. to 1., [TiJ/iwv lypac^e /xe.
Grey marble. L. o-68. Brought by Spratt from the neighbourhood
of Eremopolis in Crete and presented to this Museum. A woodcut is
given \n Journal of Class, and Sac. Philology., Cambridge, 1855, 11. p. 108.
Spratt, Travels in Crete, 11. PL i, no. 20 ; cf. Kirchhoff, Studien zur
Gesch. des Alphahetes, 3 ed., p. 64. Jahn in Aixh. Zeit., 1863, p. 65. [*]

14. Fragment of an altar, upper part : from Kanawat in
Syria. From the square surface projects the raised rim (h. o-o6) of
a well-shaped cavity sunk (d. o'li) into the body of the altar; the
bottom of this cavity is now perforated. On one side of the rim near
its upper edge is a round hole. In the middle of each of the four
sides of the surface is a small square hole of little depth ; on each
of the four corners are traces of a raised projection. The surface is
surrounded by a moulding. On the body of the altar are the fol-
lowing reliefs. In front, head of a youthful god (Baal) with nine
leaf-like rays, wearing chiton, which is furnished on both shoulders
with a button. On the right, besides some architectural ornament,
the lintel for a doorway, the interior of which is hollowed quite out :
on the back, a female head (of Astaroth) over a crescent-moon. On
the left a flower, and characters below. Coarse stone. H. o'54.
L. 0-43. D. 043. Presented by the executors of the late C. F.
Tyrwhitt Drake, 1874. [*]

15. (Clarke, xxix.) Votive relief to Athene. Two antae
with an architrave, surmounted by tiles. Athene stands in a girdled
XtToji' StTrXovs and with a small aegis, r. arm resting on her hip, 1. arm
upraised as if it held a spear, the shield leaning against her leg.
The plume of her helmet reaches into the architrave and divides the
name thus A©H NA. Two men approach her from r., the fore-
most wearing a cloak which leaves the breast and r. arm free. He
lays his r. hand in the gesture of entreaty on the arm of the goddess.
(The name on the architrave is worn away.) Next after him a warrior
in breastplate, chlamys and helmet ; his shield standing behind him.
He rests his 1. arm on his side and raises the r. with a gesture of
entreaty. Of his name the last letters A02 (AAOS according to
Clarke) are preserved. H. 029. L. o'34. Projection of relief
from field o'oi5. The relief, which looks like Attic work, comes

cam«riik;e — vnzwii.i.iAM museum i6 — 19. 249

from the ruins of Sigeion (where Clarke obtained it in 1801), a
community intimately connected with Athens. [*]

16. (Clarke, xv.) Relief of Asklepios and Hygieia.
("Initiation of Hercules by a priestess of Ceres.") The figures arc
enclosed in a frame, and both seen from the front. Asklepios is to
the 1., in the usual fashion draped in a cloak ; his 1. hand resting on
his side ; his staff, entwined with the snake, placed under his arm-pit.
Hygieia, in a chiton, stands r., enveloped to the knees in her cloak ;
her 1. hand on her thigh and in her lowered r. hand the cup : no
sign of a snake. Both heads destroyed. A fair relief of somewhat
coarse execution, much knocked about. H. 0^54. L. o'43. Pro-
jection of relief from field o'o4. From Athens; cf. Clarke, Travels,
[|. 2, p. 529. \*C\

17. (Clarke, x.) Left half of a votive relief, framed. Three
rows of draped figures are turned to the right; above are eight adult
figures, of whom four in flatter relief appear in the background,
'i'hey represent probably two men and six women ; below are two
girls and four boys. All alike are making the gesture of adoration
(cf. Brocklesby, no. 10). Pentelic marble. Rather coarse style.
H. 0-57. L. o'36. The various degrees of projection of the three
rows of figures on the relief are interesting, o'oi, 0^04, o'o5. Found
in a garden at Athens; cf Clarke, Travels, 11. 2, p. 530. [*]

18. (Clarke, xxvii.) Sepulchral votive relief, still provided
below with the marble peg for letting into a base. On either side
an anta, supporting an architrave with the upper surface tiled. To
the r., lying on a bed, the dead man, honoured as a hero, partly
covered by his cloak and having a modius on his head. In his
r. hand he holds a rhyton, which he is in the act of raising to pour
wane into a goblet which he holds in his 1. hand. Beside the bed
at his feet sits his wife, clothed in cloak and chiton ; her r. hand
in her lap, 1. raised, as if holding something. In front of both in
the foreground a low table with cakes on it. Behind the lady stands
a young servant (irais) with a cup in his lowered 1. hand, and beside
him a mixing-bowl (Kparqp) which stands on a draped tripod. A
bearded man stands 1., also a veiled female and a little girl (the
survivors), all adoring. Above them is seen in a sunken square
panel the head of a horse, to indicate the equestrian rank of the
deceased. Delicate, rather flat execution ; relatively early. Pentelic
marble. H. 0-17; with projection of peg 0-22. L. 0-23. Brought
from Athens by the Earl of Aberdeen. [*]

19. Remains of a similar relief. The greater part of a

250 CAMBRIDGE — FIT7AVILLIAM MUSF.UM 20 — 23.

female in sitting posture is preserved, holding her cloak with her
1. hand ; part of a male reclining with r. arm raised ; and half of a
three-legged table with food on it standing by the couch. Ordinary-
workmanship. High relief H. o'30. L. o"i8. [*]

20. (Clarke, xviii.) Upper half of a sepulchral stele.
(" Caligula bringing his daughter, Livia Drusilla, to the protecting
Minerva.") Above, a cornice with the remains of a pediment over it.
Below, a broad belt, probably intended for the reception of an
inscription. Underneath is the sunken field of the relief without
any framing at the side. A lady completely dressed sits r. in
a comfortable easy chair, her r. hand on cloak, her 1. in lap.
A girl, in chiton and cloak, stands 1. before the lady, holding a
swathed infant in her hands. Both figures preserved to the knee.
A beautiful, softly rounded relief, but badly rubbed. Belongs pro-
bably to the beginning of the 4th century. Pentelic marble. H.
0-84. L. 0-35. From Athens; cf Clarke, Travels, 11. 2, p. 529. [*C]

21. (Clarke, xii.) Rounded sepulchral stele of late cha-
racter ; flat at the top and encircled by a torus. Below is the
inscription EuxXiSa? EukXiSou | 'Ep/iiovciJs (C. /. (9r., 839); underneath
in a niche surmounted by a pediment a man enveloped in his cloak ;
head missing. Rough relief Below, roughly cut, is a dog on his
hind legs. Hymettian marble, of Roman period. H. I'oy. Diameter
o'42. " This pillar served as a horse-block in one of the streets of
Athens." Cf Clarke, Travels, 11. 2, p. 530. [*C]

22. Sepulchral lekythos of Pentelic marble : neck, foot
and handle almost entirely broken away. Upon the body in very
low relief we see r. a bearded man, in cloak, holding out his r. hand
to a youth, who is approaching him, dressed in chiton and chlamys,
his sword sheathed in his 1. hand, his petasos pushed back on to
his neck. Beside him is his horse and behind him a small servant
wrapped in a cloak and holding two handsome greyhounds, one of
which looks before him attentively while the other sniffs at the
ground. Above the bearded man is written ['Hjyif/iu)!/ | 'En-iKT^c/d'crt-
[os], as supplied by Dobree (see Rose, Itiscr. Gr., p. 4rS, C. I.
Gr., 2033). 4th century B.C. H. 0-84. Diameter 0-36. H. of
figures o'44. John Spencer Smith, Minister Plenipotentiary at the
Ottoman Porte, brought home this genuine Attic vase from the
coast of the Propontis ; cf Clarke, Travels, 11. 2, pp. 494, 528. \*C]

23. Sepulchral votive relief, framed by two antae and an
epistyle. A youth, honoured as a hero, lying on a couch half covered
by his cloak. He has a fillet in his hair and holds a cup with his

CAMRRIDflE — KITZWII. 1,1AM MUSKUM 24 — 2J . 25 I

1. nand, stretching out his r. for a small box handed to him by a
well-dressed lady, who sits at the foot of the bed, and whose hair is
covered with a kerchief in the form of a cap. Near the lady's chair
stands a diminutive female servant with a box. Before the bed is
placed a three-legged table with food, and beside it is another dimi-
nutive servant who has filled a pitcher from a large mixing vessel on
the ground. Above is a tree entwined with a snake, the symbol of
heroic honours. Below is the inscription MTjTpoSujpou tov \ 'AttoX-
ko&uypov, from the 2nd or ist century u.c. (C /. Gr., 6966). L. 0-46.
H. 049. The relief, which is somewhat roughly executed, comes, to
judge by the style of the marble, from Asia Minor (Smyrna?)
or the Islands. Presented by I)r Fiott Lee. [ ']

24. (Clarke, xin.) Sepulchral stele with pediment, which
is adorned with a rosette. Upon a couch lies a beardless man, in
chiton and cloak; a roll in his 1. hand. He looks at his wife, fully
draped and sitting at the foot of the bed, viewed from the front.
In front of the bed is a barking dog and a round three-legged table,
with food. At the head of the bed stands a full-grown girl m chiton
and peplos, supporting her head sadly on her r. hand. Beside her
stands a diminutive female servant carrying in front of her an un-
recognisable object. Below 'Apio-reas | Zcocri/Aou (C /. Gr. 2262) in
late letters. The light yellow colour of the marble and the tasteless
execution betray provincial art ; the prettiest part is the motive of
the daughter. Very low relief. H. 0-62. L. o'4r. Found upon
a small rocky isle near the mouth of the harbour of La Scala in
Patmos ; cf. Clarke, Travels, 11. 2, \^. 372. ['']

25. (Clarke, V.) Sepulchral stele: much injured, and broken
off at the top. L. a female in a sitting posture, r. hand in lap,
1. raised towards chin. R. a smaller female, standing in full face.
Coarse execution. Grey marble. H. 0-43. L. 033. From the
ruins of Phanagoria (Taman) on the Cimmerian Bosponis ; cf.
Clarke, Travels, i. p. 404. [*]

26. (Clarke, iv.) Sepulchral stele : of the same kind and
origin as no. 25. R., on a throne elevated on a low step, sits a fully
dressed female, supporting her chin on r. hand. Before her a small
figure, totally effaced, standing beside a column on which is seen a
small statue of a man wearing the chiton. H. 070. L. ca;. [*]

27. (Clarke, vi.) Sepulchral stele : of the same origin as
no. 25, but of better marble and slightly better workmanship. Below
is a marble peg ; the plinth was so placed that both sides were
visible. Front : remains of a relief, which represents a horse stand-

252 CA^tBRIDGE — FITZWILI.IAM MUSEUM 28 — 31.

ing, facing r.; before it two human feet. Underneath the following
inscription of Roman date, probably before the Christian Era (C /.
Gr., 2127. Kaibel, Epigr. G?:, 539):

Tfi/i69e[o]s, d ndr/aas S<rtos <t>iSis, irois 6^ Aaireio;,

Tpts Se/caras iriuv Tep^aTlaai ^daves'
a Ta\ac» oinTelput <re To\vK\avaTif) iwl Ti5/ij8y,

In line 2, ScKciTas is written incorrectly for ScicaSas, in line 4, HYN
for vvv : the semi-barbarians permitted themselves to use crvv ami
genetivo in the neighbouring Pantikapaion also (C. /. Gr., 2114 <:, d).
Patra is a place not far off (Strabo, p. 494). Back : a powerfully
chiselled relief: a man leading a horse r., behind whom is seen
a (female?) figure. Above, remains of an inscription ...AIIE ...
H. 0-53. L. 0-47. [-]

28. (Clarke, x.kii,) Fragment of a relief, ujjper r. corner.
Upper half of the body of a youth wearing the chlamys, front view ;
both arms, of which only the upper parts remain, lowered, the head
broken off; high relief. Clarke imagined that this coarsely-executed
work was a piece of a metope from the Parthenon, which is quite a
mistake. It may rather be a piece of a sepulchral relief (Huebner,
Arch. Anz., 1866, p. 301), although it is of an unusual stj-le.
Clarke found the fragment outside the entrance to the Acropolis and
received it as a present from the governor of the citadel {Travels, 11.
2, p. 475). Pentelic marble. H. 0-31. L. 0-35. Projection from
field o'i3. Thickness of slab o'i7. [*]

29. (Clarke, xxv.) Round altar, or pedestal, adorned with
four bull-heads conjoined with garlands and fillets (o-Tc'/i/xaTa, vittae) :
in each loop a patera, or rosette. On the top a hollow perhaps
intended for the reception of a statue (?). Parian marble. H. o"6i.
Diameter o'6i. Brought from Delos by an ancestor of the Rev.
Bridges Harvey, Jesus Coll., who gave it to Clarke. [*C]

30. (Clarke, xx.) Small fragment of base of a pilaster ;
found in the castle of Pergamos, about sixty feet from the ground.
Figured in Wilkins, Antiq. of Magna Graecia, frontisp. Above, a
torus with plaited straps, bordered higher still by an astragalus ;
below a flat trochilus, interrupted by a relief, which displays the
winged Nik^, on a biga, driving rapidly r. H. o'i5. L. 0-29.
Brought to England by the late Captain George Clarke, R.N. [*]

31. Sarcophagus : from Arvi, on the south coast of Crete,
presented by .Sir Pultney Malcolm 1835. Figured and explained

CAMHUinCK — I'lTZWII.I.lAM MUSIX'M 3 I. 253

Pashley, Travels in Crete, 11. pp. 6, iS, 19 (not yet quite com-
plete). The latter has the merit of having collected the fragments
and completed them by new excavations, (i. p. 275, 11. pp.
2 — 20.) An accurate drawing lies before me. Front. IJacchic
triumphal procession, moving r. To the extreme 1. a nude Bacchante
is dancing ; she has a small cloak over her left arm and across her
lap, and is beating tlie tympanon. In front is a two-wheeled car
richly ornamented with reliefs (crouching lion ; two standing figures ;
Eros and Pan between two columns, challenging each other to fight);
on the car stands the youthful Dionysos, an ivy wreath in his long
hair, a nebris round his breast. He holds the thyrsos in his 1.
hand sceptrewise, and rests the r., which holds a wreath, on a Satyr
crouching in the car, who serves the god as his support. The
car is drawn by a male and a female Centaur. The latter holds
a large pine-branch in her r. arm, and lays the 1., in which she
has the kantharos, on her companion's shoulder ; the male Centaur,
who is crowned and has features like a Seilenos, is looking round ;
his I. arm, clothed in a skin, is thrown round his wife ; his r. hand,
which is uplifted, is emptying out a drinking-horn. The goat-footed
Pan, who is delineated in a masterly manner, capers with brutish
vivacity before the Centaurs, striking the tympanon high above his
head (cf MuUer-Wieseler, 11. 36, 422). Near him in the background
is a pine tree, in the foreground beside him on the ground a pedum
and a large kantharos. The latter seems to have fallen from the
grasp of the wreathed Seilenos, who, wearing a sleeved tunic made
of skins and a small cloak, staggers along, drunk. He is supported
with difficulty by a Satyr in a skin apron and by a Maenad in a
flowing garment ; in the background is seen a Satyr crowned with
pine leaves. Seilenos is speaking to Dionysos, to whom he stretches
out his r. arm ; in the 1. he holds a bunch of grapes. Farther in
advance a youth is stepping, with a boy riding on his shoulder
whom he holds fast with his r. hand ; across his 1. arm a skin is
thrown, and in his hand he holds a thyrsos ; in the background is
a fig tree. This group is preceded by an elephant partly draped
in a long falling cloth with a carpet over it; on the carpet sit or
rather lie two small Maenads and a Satyr, all draped ; one of the
Maenads plays the flute, the Satyr has a kantharos, the second
Maenad is swinging a thyrsos in her r. hand, and resting her 1., which
holds a goblet, on a plaited osier basket. Next to her sits, on the
neck of the elephant, a second young Satyr with the nebris and a
pedum, probably intended to guide the animal. On the other side

254 CAMBRIDGE — FITZWILLIAM MUSEUM 3 1.

of a gap, from which something (hardly of importance) has been lost,
a young Satyr is trying to hold a full wine-skin on his shoulders ; his
back is covered with a skin, at his feet are a panther and a kantharos.
Quite at the end is a vine. — Right end. A curtain is suspended
from the vine and from a bare tree. In front of it a young Satyr
with a skin apron on his loins and a torch over his r. shoulder, and
a bearded companion with skin and torch over the 1. shoulder, hold
the two handles of a plaited winnowing fan {vannus) in which there
are three apples and a crouching child, probably the young Dionysos
himself, who, frightened at the shaking of the fan, seems to wish to
climb out. The same design is repeated on one end of the Farnese
sarcophagus (Gerhard, Antike Bildwerke, PL 111,3; Miiller-Wieseler,
II. 44, 458), from which, as Prof. Colvin suggests, it may probably
have been copied by Raphael in the drawing reproduced in a well-
known engraving of Marcantonio (Bartsch, no. 230, cf. Fisher, R'.,
Catalogue of a Collection of Engravings, Etchings, and Woodcuts,
p. 47.) — ^Left end. Two small Erotes, one with wings and one
without, are carrying away with manifest exertion. Pan, heavy with
wine, drunken and ithyphallic. Behind are a pine tree and olive
tree (?) over the branches of which a large cloth is stretched.

The Sarcophagus has still its original Lid in almost perfect pre-
servation, which is finished off at each of the front corners with the
mask of a youthful Satyr with bristling hair. On the front of the
lid is seen a great rout of Satyrs and Maenads on a couch covered
with a lion's skin ; in the background carpets are spread out. Quite
1. sits a female, playing on a lyre ; opposite to her is a bearded Satyr,
with a wreath in his r. hand and a goblet in his 1., and behind him
a youthful Satyr with a wreath in his 1. hand and the r. laid upon
his head ; on the ground beside them are a ladle [simpulum), a
skyphos, a small goblet, and another skyphos. A second group
represents a bearded Satyr, lying on his belly, and offermg a large
skyphos to a Bacchante, who holds a wreath in her left hand (cf.
Clarac, 11. 139, 139); beside them is a baby Satyr sitting on the
ground, devouring a bunch of grapes, and two drinking vessels.
Then follows a bearded Satyr with a skyphos in his r. hand, turning
to a Bacchante opposite him, who is holding up a bunch of grapes
in her r. hand and has a wreath in the 1.; at her feet in the back-
ground is a draped, bearded dwarf figure, with a girt-up cloak and a
cap, raising a bowl to his mouth. Then a gap occurs, from which
probably a figure and a half have been lost, after which comes the
upper half of a naked youthful form with a goblet in the 1. hand;

CAMUKinOK— riTZWILI.IAM MUSKUM 32, 33. 2$^

beside it a draped Maenad with a kerchief on her head, drinking.
Last comes a bearded Satyr with a skin apron, clapping his hands
delightedly; beside the couch two drinking vessels and a ladle. To
the extreme r. sits a Maenad, rocking an infant Satyr on her lap. —
On each of the ends, which are pediment-shaped, stands a vessel,
filled with fruits, between two crouching panthers. At the back
corners are small youthful masks, with curls and Phrygian caps.

This sarcophagus, carved in somewhat high relief, has been
reckoned with perfect justice among the best of works of the kind
which have come to us. Matz, however, is also equally correct
{Arc/i. Zeif., 1873, p. 33) in ascribing the execution not to Crete,
but to Rome, or at all events to Italy (cf. Wiltonhouse, no. 137);
and in remarking that the celebrated Farnese sarcophagus is the
most nearly allied to it, not only because of the repetition in both of
the same scenes as above-mentioned, but also because it is of the
same refined and delicate execution, reminding us sometimes of
miniature sculpture. Many figures and groups occurring in this
composition are to be found on other Roman sarcophagi ; and the
grey striped marble seems to me to resemble the marble of southern
Italy. H. 0-50. L. 2-II. D. o-6. {''CAf]

Sculptures collected in It.\ly.
Among the works of this class at the Fitzwilliam Museum, which
almost all come from the Hollis-Brand-Disney collection, I shall
place the statues first, then the busts, and lastly the reliefs. The
numbers added in parentheses are those of the Disney Collection.

Statues and Statuettes.

32 (50). Statuette of a youth: Mus. Disn., PI. 25. Subject
same as that of no. 6. Here too the head and r. arm are missing ;
by the 1. foot is a support. Poor work. Greek marble. H. with
base, 0-32. [*]

33 {2). Statuette of a youthful Satyr : Mus. Disn., PI. 26.
This is the most graceful piece of statuary in the collection. The
Satyr is sitting on a rock, leaning so far back that it seems as if he
must fall. He has a short tail behind. His right foot is crossed
lightly over the left and both legs are stretched out. He holds in
his hands a flute, which he is blowing (cf Wieseler in Goit. gel.
Anzeigen, 1849, p. 448). His head, which has pointed ears and
little horns, growing from the forehead, is crowned with pine twigs.
The r. arm was broken, but is nevertheless the original arm : only

2S6 CAMBRIDGE — FITZWILLIAM MUSEUM 34 — 37-

some fingers having been supplied. The whole work is badly
polished. H. o'49. \*C]

34 (24). Statuette of a woman with a child : Mus. Dis//.,
PI. 27. "Leucothoe." The woman, draped in chiton and wide
cloak, is resting on her 1. leg, the right being somewhat in advance,
the r. arm, which is hidden by her cloak, lowered ; on the 1. is to
be seen all that remains of a rather big boy. The head (missing)
had long curly hair and was veiled. The statue was originally not
badly executed, but the front has been so destroyed and re-worked
that only the grace of the general design can now be traced.
Greek marble. H. o'47. [^C]

35 (s)- Statuette of Seilenos ; Jl/us. Disn., Pi. 28. The
bearded Seilenos, crowned with ivy, sitting on a rock, playing the
flute. He has drawn up his 1. foot ; a cloak covers the rock and
part of the r. thigh. To the 1. a dog. This dry uninteresting
little figure, although broken, appears to me to be quite modern.

H. 0-49- [*]

36 (4). Statuette of a sitting female : Mus. Disn., PL 30.
"Juno.'' On a stuffed chair, which stands in a strangely oblique
position, sits a woman in girdled chiton and with a cloak which
covers legs, 1. arm, and back, and which once veiled the head. L. foot
advanced, r. drawn back, 1. forearm stretched out. New : nose,
neck, r. arm, which is lowered, as well as half the 1. forearm with
the sceptre, 1. foot, veil and the four legs of the chair. The veil
is modern and has been stuck on an antique head which can hardly
belong to the figure, and to which the restorer (Pigiani, an assistant
of Vescovali) has added a crown. Disney considered it a Vesta,
Westmacott, a Roma. The old parts are of good decorative work
(cf the Terra Mater, Bidktt. miinicip., i. PL 3 ; Overbeck, Ktaist-
mythol. Atlas, PL 14, no. 17). The marble appears to be Italian.
H. 0-65. Found in a. d. 1825 in Tivoli, opposite the Cascatelle
in the so-called villa of Quintilius Varus; bought by Disney a.d.
1826. [*]

37 (3). Statuette of a throned goddess, called "Vesta."
A veiled goddess sitting on a throne with a high back, like the
usual representations of Kybele (cf no. 3), but without any recog-
nisable emblem ; a fragment beside the 1. thigh is not likely to be a
tympanon, and both forearms, which were outstretched, are missing.
'l"he head with Stephanos has been stuck on, but is antique. Other
restored pieces have fallen off again. Coarse Roman work. H. o'45.

CAMIiRIDGE— l-'lTZWII.LrAM MUSEUM 38—45. 257

38 (35). Fragment of a double terminal figure : Mus.
Disn., PI. 29. A terminal column culminates in a double half-length,
female figure, draped, and having a number of folds slanting across
the breast. The arms, which are lowered on both sides, hold each
the corner of the garment. Stiff curls lie on the shoulders. The
double head missing. Stiff, ornamented archaism, coarsely executed.
Between the forearms on either side is a square hole, probably
intended to receive a beam which connected these hermae and other
similar ones in a kind of railing. Found in a field at Cumae by
Mr Henry Tuffnell in a.d. 1824, who gave it to Disney. H. 0-54. [*C]

Works in the round : Busts and He.vds.

39 (7). Athene : Mus. Disn., PL i. Bust much exceeding
life size ; front half only preserved ; the helmet is cut off in front and
nevertheless the hair flows over the edge. The work is either
completely restored or more proliably quite modern. Coarse execu-
tion. Brought from Rome by Wil. Lloyd and bought of him by
Mollis, in A. D. 1 76 1. H. 0-46. L. of face 0-21. [*]

40 (21). Portrait head: AIus. Disn., PI. 2, "Antoninus Pius."
A poor head, certainly not that of Antoninus Pius ; a much patched
and plastered face and new nose. The r. half of the breast perhaps
ancient, but not belonging to the rest : the 1. half and the drapery
new. H. 0-56. L. of face o-i8. [*]

41 (26). Marcus Aurelius : ATus. Disn., PI. 3. A fairly
good head with a new nose; the pupils of the eyes expressed. Neck
modern and so probably all the draped bust with the wide cross
stripe, usually called the lacna. H. 077. L. o'20. From the
Barberini Palace, bought by Mollis a.d. 1766, purporting to have
been brought from Alexandria about a.d. 1742 (?). [*]

42 (20). " Domitian" (?): Mus. Disn., PI. 4. Head quite
intact, crowned with oak. The pupils of the eyes expressed. Rough
work. H. 0-37. L. of face o'2o. [*]

43 (13). Head of a barbarian : Mus. Disn., PI. 5. Perhaps
a Dacian, with scanty beard and Phrygian cap. By no means free
from suspicion. Striped alabaster. M. o'29. [*C]

44 (12). Phrygian youth, perhaps Ganymedes : AIus. Disn.,
PI. 6, "Atys". A passable head with curly hair and Phrj-gian
cap; tip of nose new. H. 039. L. 015. Bought at the Duke of
Argyle's sale, A. D. 1771. [*]

45(19). Roman portrait : iJ///j. Z>w«., PL 7, "Otho." Mass-
ive head, the forehead surrounded by a fringe of hair, strangely
M. C. 17

258 CAMBRIDGE — FITZWILLIAM MUSEUM 46— 5 I.

drawn back. Nose new. The neck has been inserted into a new
bust. Insignificant work. L. of face o"i8. [*]

46 (9). Serapis : Mus. Disn., PI. 8. A tolerable head, on
the top of which is seen the ring for the modius. New: the
modius, which is wreathed with oak, and the drapery. H. 0*37.
L. of face o'li. Bought of the Abbate Clementi at Rome a. d.
1752. [*C]

47 (32). Terminal head of Dionysos: Mus. Disn., PI. 9.
A beautiful bearded head with grave expression. The whole is
executed with a moderate tendency to archaism. The beard, which
is somewhat pushed aside, well treated, neither too minutely, nor
too freely. The hair is worked in regular furrows, and gathered in
with a narrow fillet, which, on the forehead, is delicately entwined
with two long curls. The hair hung far down, but has been broken
off. New : the tresses falling down to the shoulders, the bust-piece
and the nose. The eyes are singularly small. Pentelic marble ?
H. of head 0^34. L. of face o"i7. Bought by Hollis in a.d. 1761.
[*C]

48 (8). Bacchic female head: Mus. Disn., PL 10, "Muse."
A colossal head and neck, very broad in the proportions, apparently
belonging to the Bacchic cycle. A fillet is drawn across the forehead
and through the hair, which is gathered in a knot behind. Hard
execution. Coarse Greek marble. H. 0-33. L. of face 0-19. "I
have every reason to believe it was found in, or near to, the Acropolis
at Athens." (?) Disney. [*]

49 (10). Young girl: Mus. Disn., PI. 11, "Sappho." No
cloth or kerchief covers the hair, which is gathered into a knot be-
hind. New : bust, neck, chin and point of the nose ; the rest
being restored in so uninteresting a way that it looks almost entirely
modern. H. o'i8. L. efface o'i2. [*]

50 (25). Double terminal bust. Mus. Disn., PI. 12, "Bac-
chus and Ceres." On one side Seilenos, crowned with ivy, on the
other a youthful head crowned with laurel, thus shewing the connec-
tion of the attributes of Uionysos and Apollo. (Cf. Broadlands,
no. 16; London, Lansdowne House, no. 69.) New: busts and
nose tips. Pretty. Height, of the genuine parts, o"i6. [*]

51 (22). Double terminal bust: Mus. Disn., PI. r3, "Bac-
chus and Libera". The two heads, which are strikingly narrow, are
pressed very close together, perhaps because the piece of marble was
not larger. On one side Seilenos, with long beard, crowned with ivy ;
his ears were originally covered by the hair, but the restorer has

CAMIiRIDGE — FITZWILLIAM MUSEUM $2 — 59. 259

transformed them into pointed ears. On the other side a youthful
head, also crowned with ivy ; nose-tip restored. H. o"28. [*]

52 (31). Terminal bust of Pan: Mus. Disn., PI. 15,
"Silenus." Bearded head with horns, crowned with ivy. The face
has a grinning expression. Modern. H. 0-35. Bought by Hollis of
Mr Lloyd, A. D. 1 76 1. [*]

53 (14). Dionysos ? Mus. Disn., PI. 16, "Aeginetan Bac-
chus." Bearded head in stiff imitation of the archaic style : three
rows of curls on the forehead: beard well designed: eyes filled up
with some substance. New: nose and bust. H. o"33. L. of face
o-i8. [*]

54 (15). " Hermarchos" : Mus. Disn., PL 17. I cannot
warrant the identification, but it appears to me possible. (Cf. Vis-
conti, Iconogr. Gr., i. PI. 26.) Head broad, no meagreness in the
face; nose slightly aquiline, beard tolerably long; forehead wrinkled.
Bust new ; nose only slightly injured. Ordinary workmanship. Greek
marble. L. of face o'20. Bought by Disney in London. [*]

55 (6). Terminal bust of a Satyr: Mus. Disn., PI. 19.
A very bad head, of poor, timid workmanship, for the face cannot
even laugh properly. Horns over the forehead. The terminal bust of a
very awkward shape. Said to have been " found in a vineyard near
Rome, about two miles out of the Porta Pia, near the Church of
St Agnese, in a. d. 1826, by a peasant, and brought immediately to
Sig. Raim. Trentanove, of whom Disney bought it a. d. 1827." In
spite of this statement as to the discovery, and of the fact that the
nose has been repaired, I consider the head to be modern. H. 0-38.
L. 0-14. [*]

56 (11). Bust of a youth: Mus. Disn., PI. 20, "Mercury,
young." The orbits are hollow ; the point of the nose new. " Found
in Populonia, in a.d. 1828," and bought by Disney. The head ap-
pears to me to be modern. H. o'4i. [*]

57 (17). A Roman: Mus. Disn., PI. 21. "Found in the
neighbourhood of Florence, where Disney bought it in a.d. 1829, of
Sig. Trugoni." The genuineness of this bust, which is quite intact,
is most doubtful. H. 0-35. L. of face o-i8. [*]

58 (29). "Julia Sabina": Mus. Disn., PI. 22. Lightly waving
hair adorned with stephanc. The pupils of the eyes expressed.
New : tip of nose. Very superficial work. Parian marble. H. o'33.
L. of face o'i5. Bought in London, a.d. 1823, by Disney. [*]

59 (24). Double terminal bust: Mus. Disn., PI. 23, "Bac-
chus and Libera." Two youtliful heads with the usual stiff curls on

17-2

260 CAMBRIDGE — FITZWILLIAM MUSEUM 6o — 6/.

forehead; one is almost half modern. Sculpture of no merit. H. 0^29.

V*c]

60 (2,2,)- Pan. So early as in Th. Hollis's Afemoirs, p. 821,
this bad head is ascribed to Michael Angelo ; but it is hardly
necessary to mention that he is absolutely guiltless of it. Modern.
H. 0-33. [*C]

61 (16). Female head, adorned with stephane, and the hair
gathered in a knot behind. Tip of nose new. We suspect the work
to be of modern origin, as it is very superficial and poor. H. 0^24.
L. efface o'i2. [*]

62 (18). A youth with a circlet in his hair. New. nose and
upper lip. Breast crossed by sword-band, clilamys on 1. shoulder.
Insignificant sculpture. H. 0-29. Length of face o' 13. The appel-
lation " Octavianus " quite without foundation. [*]

63 (27). Lucius Verus. New: nose. Very rough work.
H. 0-39. L. of face o'l']. [*]

64(28). " Commodus " (?): Eyebrows and pupils expressed.
A very poor head ; bust with breast-plate modem. H. 0-30. L. of
face o'ig. [*]

65(3°)- "L. Aelius Caesar " (?). New: nose. Bad sculp-
ture. H. 0-40. L. efface o'i6. [*]

Works in relief.

65 (53). Agamemnon and Chryses, from Iliad i. : Afus.
Disn., Pi. 39. Overbeck, Bildwcrke, PI. 16, 11. Said to have been
found at Perugia, a.d. 1826, and bought by Disney from Vesco-
vali in Rome. The latter sold at that time many similar imitations,
the works of the Neapolitan Vine. Monti, {Kiinst-Blatt, 1823, no.
95, 1824, no. 30). This very low relief, nominally Greek, but of
which the modern origin is beyond all question, imposes on us more
at the first glance than after closer investigation. Cf Wieseler, pp.
455 — 458, and Conze, pp. 169, 170. [*C]

67 (66). Votive relief to Pan : Mus. Disn., PI. 35. Within
a rocky grotto there stands Pan, full face, with a pointed beard,
horned and ithyphallic; in the 1. arm, over which a small cloak
hangs, he holds a pedum, and with the right, which is lowered, he is
emptying a vessel (now destroyed) over a small Hermes with a long
beard. The latter is provided on the shoulders with quadrangular
projections, and is placed upon a low pedestal ; the head is apparently
covered with a cap and the symbol of sex is not wanting. Rude
work. Apparently of Italian marble. H. 0-42. L. 0-24. [*C]

CAMBRinGE— FITZWILLIAM MUSEUM 68 — 74. 261

68 (70). Greek votive relief: Mus. Disn., PI. 88, 2. Two

columns (the r. hand one has been restored) support an epistyle with
tiles on the top. Zeus stands in the middle, facing r., in a cloak
which leaves his r. breast and shoulders free; his lowered r. hand
holds the thunderbolt (much damaged), his 1., upraised, a piece of
sceptre. Hera stands behind him in a doubled chiton, her r. hand
resting on her side, the 1. uplifted as if to hold a sceptre, which how-
ever is not represented in the sculpture; her cloak droops over both
arms and down her back ; her head is adorned with a Stephanos.
R. of Zeus more than a third of the space is left completely bare; is
it possible that a painting was once introduced here ? Although the
relief is much rubbed, pretty motives can be traced through it.
Coarse Greek marble, certainly not Attic. H. o'47. L. 063.
Brought to England by Brand. [*C]

69 (38). Fragment of an Attic votive relief A beardless
man in adoration, facing 1., in a cloak of which he holds a corner in
1. hand; r. hand outstretched. Pentelic marble. H. ©•41. L. 0T4.
[*C]

70 (52). Front of a marble discus : Mus. Disn., PI. 37 1.
A bearded Satyr, with a skin floating behind his back, moves quickly
r. towards a rock altar. In 1. hand he carries a flat dish and with r.
holds out a torch towards the altar. Moderate relief. Diameter
0-26. [*]

71 (54). Back of the same discus : Mus. Disn., PI. 37, 2.
A Seilenos in apron, carrying in both hands a winnowing fan {vanttus),
from which rises a phallus. Before him a rocky altar. Very low
relief. Diameter 0-26. [*]

72 (67). Fragment of a marble discus : Mus. Disn.,
PI- Zi- On one side two masks facing r. ; one youthful, crowned
with ivy and a fillet, the other of a female, the hair being quite
hidden by a kerchief. Upon the other side a dancing Satyr, facing
r., with a skin floating behind him, the thyrsos in 1. arm, the r. arm
outstretched. Below is all that remains of a panther snapping his
teeth in the air. Edge broken away all round. Very low relief.
H. o-i8. L. 0-2I. Original diameter abt. 0-36. [*]

73 (68). Two Bacchic masks, placed opposite to each
other. That to the L youthful, wearing an ivy wreath and a fillet.
Beside him a thyrsos. That to the r. bearded and bald-headed, with
human ears. Common-place work. H. 0-23. L. 0-31. [*]

74(56). Female mask, perhaps Medusa. Very coarse. H. 0-23.

1,. o'2o. r*i

262 CAMBRIDGE— FITZWILLIAM MUSEUM 75, 76.

75 (23). Base of a pilaster. A female figure terminating
in and flanked on each side by branches. Delicate relief H. 0-40 .
L. o'3i. D. o'23. H. of field o"i4, L. o'23. [*]

76 (41). Sarcophagus representing story of Achilleus:
Mus. Disn., PI. 42 and 42 a. Front. Achilleus on Skyros.
Achilleus, facing r., in the centre of the composition, is violently
excited. He is clothed in a long Doric chiton, which leaves his r.
leg free and which has slipped from his r. shoulder, revealing the
masculine form of his breast. A waving cloak floats behind his
head and round his arms, and his head is covered with a cap. In
contrast to this, his 1. hand is armed with the shield, and his r. with
the lance; a helmet stands on the ground. The 1. foot is still shod,
his r. shoe Hes on the ground. The glance of Achilleus is directed
1., where Deidameia, in chiton and cloak, and with a kerchief on her
head, is kneeling on the ground with outstretched arms and lookmg
up to him entreatingly. A sister, in chiton and coif, with a floating
veil, hurries past her to their mother, who is sitting 1. on a low
seat, looking astonished at the whole scene. One sister is already
standing beside her, leaning against her chair, and like the mother
she is arrayed in chiton, cloak, shoes and coif Behind the chair
stand two more sisters, in simple chiton and coif, talking more calmly
over the occurrence. Quite to the 1. stands the bearded king
Lykomedes, in long chiton {x^tmv TroSijprj';), with a broad girdle and
cloak, shoes on his feet and a fillet in his hair. He rests his r. hand
on a low column, and in his lowered 1. holds a roll (?); his glance
is directed to the group, but he is less astonished than the others,
probably because he understands better what is going on. On the
other side of Achilleus is another woman, much excited, draped in
chiton and floating cloak, a sister of Deidameia. She has apparently
just sprung up from an easy chair and is excitedly calling for help.
Instead of that Odysseus comes hurriedly up, nude except for his
cloak and characteristic cap (irtXos, pileus), his r. hand raised, in the
1. his sword in its sheath. Near him Agyrtes, beardless, is blowing
the long trumpet, with 1. hand bent towards the back of his head ;
he is dressed in short chiton, cloak, and boots. At the r. extremity
comes up the youthful Diomedes, dressed in a chlamys, stretching
out his r. hand and holding his sheathed sword in 1. (The interesting
representation is to be added to those of O. Jahn, Archdol. Beitrage,
P- 3S9J Overbeck, Bildwerke, p. 287.)^Left end. Achilleus, nude
except for his helmet and shield, is running with his drawn sword in
his r. hand. He looks round 1. at Hektor, who has sunk to the

CAMHRIDGE — FITZWILLIAM MUSEUM ^G, yj. 263

grounfl and who is equipped in breast-plate, helmet, shield and sword.
In the background r. the stone walls of Troy. The figure of Achilleus
is only lightly sketched, that of Hektor more fully wrought. —
Right end. Achilleus, who is depicted as on the other side, is seiz-
ing by the hair Penthesileia, who has fallen to the ground. She is
clothed in a short chiton and boots; her hands are lowered, but with
the r. she grasps her double axe, holding in the 1. her crescent-shaped
shield {pclta). In the background her charger, from which Achilleus
has dragged her, is galloping away. — The lid is ornamented at each
corner with a grinning mask of Pan. These masks are without
horns, but have very long drooping ears. Upon the front the centre
is indicated by a portable censer {tky?niaferion), on each side of which
crouch sphinxes, symmetrically grouped round an amphora with a
cover. Each end of the Hd is adorned with a thunderbolt. The
reliefs of the lid are somewhat affected, particularly the masks, but
they are not modem. The sarcophagus is distinguished by its perfect
state of preservation. Hollis received it from William Lloyd, who
had brought it from the palace of the Marchese Cavalieri in Rome.
L. 1-62. H. 0-50. D. 0-46. {*CM'\

77 (46). Bacchic sarcophagus : Mus. Disn., PI. 41. The
front is ornamented with perpendicularly waved flutings which at
either end leave a narrow space and in the middle a broad space.
The latter is enclosed by two Corinthian pilasters, which support a
flat arch. Within stands Dionysos. Besides the wreath on his curly
hair he is adorned with a second (vTro^u/its) placed across on his
breast. A cloak, lying on his 1. shoulder, conceals his r. leg; on his
feet he has high boots. The god is resting the elbow of his 1. arm
on the r. shoulder of a youthful Satyr, and supporting his head with
his 1. hand. The Satyr has a skin hanging over his 1. arm and is
leaning vigorously forwards. Below the corner of the skin stands a
round cista of osier, from which the snake stretches up. By the side,
at the feet of Dionysos, moves a panther, laying his r. fore-paw on a
pedum. With the r. hand Dionysos is pouring wine from a kantharos
upon a ram's head which is lying on a low altar. Above the altar,
half concealed by the god. Pan appears, bearded and horned, and the
artist has succeeded in giving to his countenance his particularly
brutish expression. He is looking at the god and with his r. hand
is supporting the latter's r. arm; he has placed his r. foot on a low
mass of rock. (Cf. the very similar representation in Miiller-Wieseler,
11. 42, 508.) In the space at the 1. end a Satyr, in a skin hung over
him crosswise, is dancing, holding in his r. arm a pedum and in his

264 CAMBRIDGE — FITZWILLIAM MUSEUM 78 — 82.

1. hand a staff. He is turning away his face from a small boy, who
is hanging on his 1. shoulder and embracing him. On the ground
a panther is stepping on the head of a ram; and there is besides
the large head of a he-goat. At the end r. a Bacchante in a long
Doric chiton is dancing. Her garment leaves her 1. leg and r. breast
bare. She is striking the C3aTibals. — On the left end we see in very
low relief a large round shield, behind which two spears are crossed.
— The right end is left rough. — The sarcophagus is in excellent
preservation, in front highly polished. Found about a.d. 1740 in
the Vigna Capponi beyond S. Andrea della Via Flaminia, brought
home by W. Lloyd, and in a.d. 1761 bought of him by HoUis.
L. 2-15. H. 0-59. D. o-6i. [♦CJ/]

78 (62). Fragment showing a female figure : Mus. JDisii., PI. 36.
A female in long drapery and a floating cloak moves 1. Gerhard and
Wieseler, p. 454, have suggested that it is Selene going to Endymion,
but this appears questionable. The fragment has been cut on all
sides to make it square. H. 0-24. L. 0-15. [*C]

79 (55). Right corner of the lid of a sarcophagus :
a m-ask with long curls and a radiated crown. H. o'27. L. o'22. [*].

80 (39). Etruscan urn : Mus. Disn., PI. 85. A man and a
woman are holding out their hands to each other. A winged figure,
in short drapery and with a lowered torch, approaches from the 1.
and lays his 1. hand on the man. A similar figure, without wings,
is hurrying up from the r. with r. hand on head and shouldering a
torch with the 1. arm. A similar figure with a sword in the 1.
arm is trying to hold her back. Greyish marble. H. 041.
L. 0-54. D. 0-25. — The lid, which does not belong to the urn, is
of nenfro, and represents a recumbent man of very short proportions,
wreathed and with a cup in his r. hand. H. o'39. Bought by
Disney of Sig. Cinci, at Volterra, Oct. a. d. 1829, soon after it
had been found. ["']

Then follow a number of Roman cineraria; those marked with
a star are to be found figured in the plates at the end of Th. Hollis'
Memoirs.

81 (43)^ Round urn, fluted : Mus. Dim., PL 48. Inscribed
on tablet : D(is) M{anibus). \ T. Fliavio) Vera Aug{usti) \ lib{crto),
tab{ulario) rat(io)iis) \ aquarior(um\ co\iugi bate me\renti Octa\via
Thetis f{ecit). (Mommsen, Iiiscr. R. Neap., 2489. Orelli-Henzen,
6570.) From PoEEUoli. H. 0-25. Diameter 0-25. [*]

82 (40)*. Urn in the form of a pail : AIus. Disn., PI. 49.
The surface is marked to represent a stone wall, so that the whole

CAMBRIDGE— FITZWILI.IAM MUSEUM 83—88. 265

has the appearance of a round tower diminishing upwards. In front
is a tablet with inscription: £>(is) AI{a!iilius). \ M. Aur(elw) M.f{ilio)\
Aelia Gall(ica) \ Vivinacio \ mil{iti) coh{oitis) iv prifletoriae) \ vixsiit)
anti{is) xiy, mi/{itavit) aiin{is)y.u\i, \ Amelia Nice \ tnarito suo \ b{ene)
m(erenti) posuit. H. 0-24. Diameter of base o'27, of top 0-22. [*]

83 (47)*- Round urn (modern), antique lid : Mus. Disn.,
PI. 51. The lid is covered with foUage, and on it stands upright
a small tablet with this inscription : have Acciae \ P. /(iliac) Tulliae |
sol. ti. b. f. (Genuine ?? The last letters appear to contain a mis-
conception of familiar formulas). [*]

84 (45). Round urn : Mus. Disn., PL 52. On either side
a head serves as a handle. Inscription : L. Sentii L. l(iberti)
Cocceti I v{ixit) a{iitio) i. m(ensibits) vi. | milite dolere parentes, \ hocfaci-
undum fuit. The inscription is a spurious imitation of one that was
once in Rome and is now in Milan (Muratori, 12 13, 9. Wilmanns,
Exempla, no. 607//). Found a. d. 1825, near the tomb of Caecilia
Metella. H. o'S2. Diameter 0-42. [*]

^5 (77)*- Sepulchral monument: Mus. Disn., PI. 50. In
the pediment is a wreath. Below, a relief: upon her deathbed lies
a draped female, with the stalk of a poppy in her lowered r. hand ;
on her legs lies a large wolf-hound. Below: D{is) M{anibus). \ Poni-
peiae \ Margaridi \ fidelissimae \ Felicia \ coniugi suae \ b{ene)
m{erenti) \ posuit. The name of the husband, Felicio, is strangely
crowded in. H. 0-62. L. o'32. [*]

86 (44)*. Square cinerarium : Mus. Disn., PL 53. On
what are usually called masks of Ammon hangs a garland, in the
curve of which is the inscription : D{is) M(anibus). \ M. Ulpio \
Aug(tisti) libierto) \ Fortunato \ Philetus pater \ et Ulpia Plusias \
coniugi b(ene) m(erenti) /(ecerunt). Below at the comers are masks in
Phr}'gian caps. On the lid is a trident entwined with two dolphins,
and two shells. H. 066. L. o'36. D. 0-27. Bought by Hollis
of W. Lloyd, A. D. 1761. [*]

87 (i)*. Square cinerarium : Mt/s. Disn., PL 54 and 54^.
On all four sides are garlands of fruits, depending from skulls
of rams, and below are two birds. On front and back there is
also a bird over the garland, and on the two sides is a Medusa
head in the same place. In front, above : Acliia) Postumia verna
fecit I sivi t*e [sic, instead of et'\ \ coniugi carissimo ; below : conquo

vixit an{nis) xxiii, h{ene) m(erenti). H. ov4S. L" 0*44. D. 0-42. [*]

SS (51)* Square cinerarium: Mus. Disn., PL 55. The

inscription runs : Ti. Claudius Hcnnias \ fecit luliae Anthidi \ coniugi

266 CAMBRIDGE — FITZWILLIAM MUSEUM 89 — 94.

suae I carissimae et \ sibi. vixit ann(is) xxxvi. All around are
branches : above, a bird, seizing a snake with his beak. On the
ends plants and on the lid a wreath. H. 0-36. L. 0-34. D.

0'29. [*]

89 (36)*. Rectangular cinerarium : Mus. Disn., PI. 56, i.
A garland hangs down from two so-called heads of Amnion, below
which swans are visible, two birds above and two below. In the
inside of the wreath the inscription : Cn. Caesio \ Attico \ Julia
Cypare \ coniiig{i) caris5{imd). H. 0'32. L. o'27. D. 0'25. [*]

90 (58)*. Square cinerarium : Mtis. Disn., PI. 56, 2. Within
a garland the inscription : Dils Maiiilnis \ Q. Calidi Pothi Valeria \
lasip) coniugi bene mereni (sic) | et Valeriae Maximae /{iliae) \ Calidius
Eleuthr. I. fecer(imt). Upon each of the sides a tripod. The cover
does not belong to it H. 0-22. L. 0-44. D. 0-30. [*]

91 (43)*. Cippus : Mus. Disn., PI. 57, 58. On two so-called
heads of Ammon, below which eagles are visible, hangs a garland,
within which is a lion tearing an ass. Above : Dils Manibus \ sa-
crum I T. Statilio Hermeti \ Statilia Philaenis \ fecit coniugi \ suo
carissimo \ et bene \ merito de se. On the two sides are 1. a cup, r.
an ewer, each in a garland ; on the back corners a ram's head above
and a swan below. Above is a round pediment with branches.
H. 076. L. 046. D. 029. [*C]

False or Doubtful Reliefs.

In conclusion we have a number of reliefs which are not
genuine, or which are in the highest degree suspicious.

92 (71). Round relief: Mus. Disn., PI. 31. Head of Medusa,
surrounded by snakes : mouth deeply hollowed out. Low relief.
Coarse grey stone. According to Hollis' Memoirs, p. 820, "beautiful
and of Greek workmanship;" in my opinion modern. [*]

93 (58). Piece of an antique ornament of a pilaster,
on the back of which is introduced a modern head of "Julius
Caesar, seen in profile, with a fillet in the hair " : Mus. Disn., PI.
32, 32a. Bought of a merchant of Naples, about the year a.d.
175s, by Hollis. [*C]

94 (69). Low relief of Nero, with halo of rays : Mus. Disn.,
PI. 34. We read in Hollis' Memoirs, p. 820, of this composition,
which is certainly modern: "it was over a portal in Attica; the
reverse a figure of Roma Triumphans," and Disney says " brought
from Athens. Purchased at Venice about a. d. 1752." It is clear
that trade in art was never at a loss for testimonies to origin. [*C]

CAMBRIDGE— FITZWILI.IAM MUSEUM 95— IO4. 267

95 (^S)- " Agrippa." Head in profile, with a wreath. Afus.
Disn., PI. 38. Modern. [■']

96(63). 97(61). " Small male head": Mus. Dkn.,Y\. ^o.
" Small female head." Similar. Modern flat relief.

98(57). 99(64). "Laureate head of Philip of Macedon."
" Faustina." Similar. [*]

100 (60). Portrait of an emperor. T.ow relief, with sharp
edges, like a cameo. Modern. [*C]

loi (59). A female, sitting on the ground, half nude. Grace-
ful posture. Modern. [*]

Certain marbles, of which there are drawings in AFus. Disn.,
are not in Cambridge, viz.: PI. 14, Ivy-wreathed bust of Thalia; PL
18, Bust, falsely called "Corbulo"; PL 24, Statue of Apollo. They
have probably remained with the Bronzes and other works of art in
the Hyde. (See below, art. Hyde).

Besides the Marbles we have spoken of in the collections of
Clarke and Disney, the Fitzwilliam Museum possesses other Anti-
quities, important among which is the great collection of Greek
coins, purchased from the e.vecutors of the late Colonel Leake for
£5000; further some Greek vases from the property of Col. Leake
and Dr. Churchill Babington {Archaeol. Anz., 1866, p. 302); for
example, eleven amphorae, four hydriae, ten bowls, numerous lekythoi
(with inscriptions of vase-painters Chachrylion and Hermogenes,
hydria with inscriptions " Herakles" and "Triton"); some Attic
terra cottas, among which are some of graceful design ; and a
collection of very handsome Cyprian glass vessels, obtained from
Gen. Cesnola; and finally some good bronzes, among which I
consider the following most worthy of notice:

102. Statuette of Herakles, staggering drunken. Spec, n.
PL 31, 32. An excellent piece, 0^23 high, bought by Leake in Vra-
chdri in Aetolia, where it had been brought from Vlochds (Agrinion).
Travels in Northern Greece, I. p. 325. [*]

103. Statuette of Zeus, standing on his r. leg, with the L
slightly bent, quite nude. In his r. hand he is lowering the light-
ning, and his 1. arm is raised. His head is bent slightly downwards,
looking r. Hair and beard are carefully treated and the latter is tole-
rably long. With this may be compared an Athenian coin (Miiller-
Wieseler, 11. 2, 23), in which some scholars have proposed to recognise
the Zeus Polieus of Leochares. H. 0-155. Leake. [*]

104. Statuette of Poseidon, placing his r. foot on a rock

268 CAMBRIDGE— FITZWILLIAM MUSEUM 105 — 108.

and laying his r. arm on his knee, with a dolphin in his r. hand; his
1. arm is raised, and it no doubt held the trident. The head
approaches very nearly the character of Zeus. Concerning this type,
cf. Overbeck, Kunstmythologie, 11. p. 278. Lange, Das Motiv des
aiifgesctzten Fusses, pp. 81 ff. H. o-io. Leake. [*]

105. Statuette of Dionysos : in a cloak that leaves his
r. arm and breast free. The r. arm is somewhat lowered and
stretched out, the position of the hand shows that it must have been
in the act of emptying out a cup. The 1. hand held something before
the breast. The face has a noble expression, the beard is well trim-
med, the hair on both sides of the forehead is confined by a fillet.
This good piece appears to be Etruscan. H. o'26. Leake. [*]

106. Statuette of a nude youth, with a head surrounded
with curls, resting on his r. leg, and his 1. leg bent. In his r. hand
he held something before his body; his 1. arm is broken off. On
the top of the head is a broken peg. A good figure, found in Zoan
in the delta of the Nile. H. 0-17. Leake. [*]

107. Statuette of a Satyr, dancing forwards in moderate
movement, with the 1. leg advanced; stretching out his 1. arm with
extended fingers, and raising his r. hand. In both instances the
wrists are much bent, as is usual with Satyrs. The hair thin.
Round pedestal. The figure comes from Etruria. H. o'i3. [*]

I pass over some bronze figures of less consequence, two Etruscan
candlesticks and a bronze hand; also a suspicious bust of a female
and a modern Herakles (presented by Mrs Hare). There are two
Etruscan incised mirrors representing mythological subjects, viz.,
Tydeus, Amphiaraos, and Adrastos (Tute, Amphiare, Atrste),
Tydeus standing in the middle between Adrastos seated ]. and
Amphiaraos r. This mirror, of which the figures and inscriptions
are almost obliterated with rust, belonged formerly to Gerhard, and
has been published by him. Cf. Gerhard, Etrusk. Spiegel, 178.

108. A nude female figure with wings, moving quickly r.,
with a Phrygian cap and shoes; in her lowered r. hand she holds a
cup for flowers. Cf. Gerhard, Etrusk. Spiegel, PI. 31 ft".

TRINITY COLLEGE.

Conze, Archaeol. Anzeiger, 1S64, p. 172.

In a corner downstairs close to the staircase which leads to the
Library stand several antique sculptures. Some of them, which have

CAMHRinnK— TRIN'ITV COLLKCK I09, I lO. 26g

their origin in the north of England, were collected by Sir Robert
Cotton, and kepi, by him at Cunnington, near Huntingdon, till
in A. D. 1750 Sir John Cotton de Stratton presented the collection
to Trinity. Cf. John Horsley, Britannia Rovtana, p. 192, PI. 29;
Bruce, in the Archaeological Journal, Lond. A.n. 1855, xii. no. 47.
For the chief piece see the C. I. Lat., vii, looi.

Somewhat later some Greek marbles were added which Edward
WoRTLEY MoNT.\GU (died A. D. 1761), the husband of Lady Mary
Wortley Montagu, had collected in the, East while he was British
Ambassador at Constantinople (1716 — 1718 a.d.). Cf. Clarke,
Travels, 11. i, p. 163. Scipio Maffei saw the stones at Montagu's
house about a.d. 1733. {Letters and Works of Lady M. Wortley
Montagu, ed. by Lord Wharncliffe, in. p. 96.) The most celebrated
specimen was the inscription of Sigeum (C. /. Gr., 3595), which
Montagu's daughter. Lady Bute, presented to Trinity in a. d. 1766,
probably together with the rest of the specimens. Some have been
added from other parts.

109. Square sepulchral relief, framed. Two men are lying
on a couch ; the one 1. half covered with his cloak, while the upper
part of his body is bare, and he holds a goblet in his 1. hand. The
one r. wears his chiton and cloak, and with his r. hand, which is
raised, he pours wine from a drinking-horn {rhytoii), with a ram's
head, into a large cup, which he holds in his 1. hand. A small,
three-legged table stands by the couch with cakes on it and a small
ewer. Further r. is a side-board, with two shelves one over the other;
on the upper one are two plates, on the lower one a goblet; in front
a mixing vessel, by which a small servant stands, and between him
and the couch stands a second servant. A curtain is hung up at
the back of the whole ; over it, looking 1., are the necks and heads
of three horses, one behind the other, also the upper parts of the
bodies of three riders equipped with helmet and shield. From the
marble and style it may be inferred that the relief comes from Asia
Minor. H. 0-46. L. o-.i.6. [*C]

no. Sepulchral monument. A quadrangular slab, enclosed
by two pilasters with a kind of Corinthian capitals; above is a
cornice with branches, below an architectural moulding. In the field
is a wreath with a broad riband; below, in rather late characters,
the inscription (C. /. Gr., 6861):

koXt) I xfliix AokI^loio, ri) | 5' offco/ia oi tW {kuto \
llarfas 1 IlaaiK/idTOi/s' aadd

270 CAMBRIDGE— TRINITY COLLEGE III, 112.

Franz reads KaOOave, and Kaibel {Epigrammata Graeca, Berlin,
1878, no. 666) supplies Kd.66a.vi S' iv iroXiiiw; on the stone itself
there seems never to have been more than is given above. I do not
know what the long stroke after IlaTrias is intended to signify. Franz
has justly referred the "Land of Dokimos" to the toivn of Dokimia
or Dokiraeion, not far from Synnada in Phrygia. On the 1. pilaster, in
three lines one above the other, stands as | na7ri[as (the final syllable
was at first falsely written over) ; on the pilaster to the right x"'P'-
Coarse yellow marble, apparently Asiatic. H. 0-59. L. o'45. [*]

111. Fragment of Attic sepulchral column, broken off
below. Under a flat pediment is a narrow lintel on which appears
(C. I. Gr., 805*) eTJ^i-iKPITOS E AEAI02. (In the second word, A
appears to me to be certain, E probable; Dobree read doubtfully
HAIAI02, K. O. Miiller ...AIAI02, Conze doubtfully ABAI02 ;
Bockh suggested Oivaios, which cannot possibly be right ; and
EtVcaTos can hardly be so. It is also possible to suppose that it is
the name of the second man represented below. Below, on the slab
itself, in characters much effaced :

'EK^dSe rix iras'qs dpeTrjs iirl T.ipiia (loKovTa \
\K\vBiKpi.T0i> Trarpia x^'^" I iKoXv^f/e TCi(pifj, |
Hfyrpl (^l\ov Kal irarpi, KaaiHy^vip-ais re iroOeti'Si' |
7ra(r[Q re iraipoLffLV avvrpotpov j Tj\iKia^.

Below, in a sunken field, is a large amphora of graceful shape,
with handles worked with volutes. On the body of the amphora
another field has been sunk ; on this is represented in very low
relief, 1. a man, apparently beardless, in a cloak; r. a nude youth
with the chlamys over his arm ; they are extending their hands to
each other. Beside each of them is a dog ; the one 1. is sniffing the
ground, the one r. is looking up backwards to his master. Below the
body of the amphora the slab is broken off. Fine Attic style of 4th
century. Pentelic marble. Brought from Athens by the Rev. H. V.
Elliott and the Rev. E. B. Elliott, Fellows of Trinity College.
H. 1-22. L. 0-42. [* C]

112. Lower part of an Attic sepulchral stele. Two
lekythoi are represented in tolerably high relief, on the 1. a small
and on the r. a larger one. On the latter distinct traces of painting
are preserved, above on the body a broad stripe, below a border
d la Gfecque and below that perpendicular stripes ; on the field are
what appear to be the outlines of a woman in a sitting posture to the
1. and to the r. a man standing up, bending slightly toward her.
Pentelic marble. H. 072. L. o'37. [*C]

CAMBRIDGE— TRINITY COLLEGE II3— Il6. 271

113. Colossal akroterion, with a double front, allowing a
very rich palmctte ot' acanthus to grow forth : originally the splendid
capital of a large Attic stele. It is broken on one of the lower
corners and here and there in other parts. Pentelic marble. H.
I'ig. L. 070. The relief stands out about 013. [* C]

In the LiiiRARY is

114. Statuette of Asklepios, liis r. shoulder supported on a
staff round which a snake is entwined; he is feeding the snake. In
perfect preservation. H. about 0-30. Presented by Sir Clifton
Winthringham. [B]

The Rev. C. W. King, M.A., Fellow of Trin. Coll., the author
of the esteemed works on gems, possesses, besides a choice collection
of cut stones, a few antique sculptures :

115. Relief representing three women, in hieratic style,
arranged stiffly about a round column. (Cf. Montfaucon, Anf.
ExpL, I. PI. 90.) They are all placed full face, and they wear a girdled
chiton with double folds (SiTrXoiStov) ; on their heads a kalathos, or
modius ; plaits fall down on their shoulders. The first has both her
arms lowered; in the hands holes may be observed, in which to fasten
some symbol; the chiton has no sleeves. The second wears woollen
sleeves reaching to her elbows ; her r. hand, in which is also a hole,
lowered; 1. hand raised to her breast and her first two fingers are placed
as if she held something in them. The third figure is without sleeves;
the hair is arranged in rows of curls on the forehead ; the 1. hand,
which is pierced, is lowered ; the r. lies on her breast. This disposition
of the hands leaves room between the first and second woman for a
small Pan, moving r., horned and bearded, with chlamys thrown across
his breast. He carries on his 1. shoulder a flat dish of fruit ; his r.
hand rests on his hip (the arm is broken). The upper part of the
column is slightly hollowed out and shaped like a patera, or c'o^apa.
The whole served probably as an altar. Commonplace workman-
ship. Greek marble from Alexandria. From the collection of
Giovanni di Demetris. H. 0'47. [*]

116. Statue of Ceres. A draped female, bending far back,
is sitting on a square seat; her cloak, of very good drapery, covers
her legs, back and left arm. Her r. leg is stretched out, the 1. drawn
back. On the 1. arm she holds a cornucopia, in the r. a bunch
of ears of corn and poppies ; this arm is broken in several places and
is perhaps old. Of the broken head the face is entirely new, the
wreath of corn perhaps old, but completely worked over. So is the

2/2 CAMBRIDGE — TRINITY COLLEGE 1 I 7. CANTERBURY.

right foot. The motive is pretty, but is carried out in an ordinary
manner. Greek marble. H. o'5o. [*]

117. Fragment of a statue of Seilenos. Only the upper part
of the body, from the navel upwards, is preserved. The head has
pointed ears, and is bald, with a long beard; he is looking down
kindly. The breast is stout and hairy ; the halves of the upper arms,
which are all that remain, are lowered. Well preserved, but polished.
Good sculpture. From Smyrna. H. 0-21. [*]

ST JOHN'S COLLEGE.

118. "Apollinis ara." Huebner, C. I. Lat, vii. 218. In a
corner of cloister of third court is the quadrangular so-called ara,
raised on a stone inscribed to the effect that it was found near
"Coccium" (Ribchester), and bequeathed by T. Dunham Whitaker,
LL.D. It was built into a wall at Salesbury Hall. L. side. Apollo
in arched field resting on 1. leg, r. leg crossed behind it and r. toe
resting on ground ; 1. hand rests on lyre on piece of rock to r. of
figure, r. elbow on 1. hand, head on r. hand; drapery hangs down
at the sides, and a piece goes over 1. shoulder and slantwise across
breast; figure nude with this exception. Hair long and raised over
forehead. Front. Two draped females of somewhat smaller scale
in field divided at the top into two arches, which meet in a point :
under 1. arch, the figure holding r. forearm straight across body
towards that under r. arch, whose 1. forearm is in similar posi-
tion ; they seem to hold some object between them. R. knee of r.
figure a little advanced. Mural crowns on heads, or hair raised.
R. top corner of field broken oif with from three to six inches of
the entire r. side of the "ara." Back. Within a moulding an
inscription of at least ten lines, of which the middle and ends are
partly legible, LEG VI occurring. Huebner has attempted its
restoration. — Brownish gray stone (?). Very much worn. H. i'66.
W. 0-51. L. (original) 074. In centre of flat top a quadrangular
hole. [Fennell].

CANTERBURY (Kent).

J. Brent, T/ie Egyptia/i, Grecian, Roman and Anglo-Saxon Anti-
quities in the Museum at Canterbury. Canterb. 1S75. Michaehs,
Arch. Zeit., 1S64, pp. 121 ff., 137 ff.

Besides other antiquities this Museum possesses a collection
of smaller objects, which Percy Clinton, Viscount Strangford,

C.VNTERRURV 4— Ij. 273

(d. 1855), the English Ambassador at the Porte till 1825, collected
in the Greek Islands, Asia Minor and Egypt, during his residence
in the Levant, and which he presented afterwards to the Museum
(cf. Introd. § 89). These specimens form the contents of Case H.
I published some of them in 1864, from sketches by G. Scharf. The
catalogue includes 175 objects, of which I select the following.

4. Pitcher, formed in the shape of Dionysos, as a boy.
Arch. Zcif., 1864, PI. 182, 4. He is sitting on the ground, with a
narrow nebris across his breast, a wreath on his head, a ring over the
r. calf; holding a pitcher in the r. hand. Pale clay. From Naxos
1822. (No. I appears to be of a similar description.)

5. Statuette in a sitting posture, probably of Hera, found
atSamos 1823. Arch. Zeit., 1864, PI. 182, 2. This figure is remark-
able on account of the numerous traces of colour, white, blue, red,
black. The old type is completely preserved, the features of the
face being of archaic roughness ; some rows of curls over the fore-
head and a polos on the head, give the same a somewhat heavy
character. Terra cotta. H. 0-22. There are other similar figures in
the collection, for ex. nos. 2, 3, 6, 9, 11.)

6. A similar figure from Samos, with a wreath round the head
and a peaked cap.

7. " Pedestal in terra cotta ; a boy leaning against a tree
or support of some description ; on the base is depicted a theatrical
mask of a grinning face. Portions of an inscription may be traced
to the 1. of the figure, which is partially covered with a hood or shawl."

12. " Egypto-Etruscan cippus, representing Osiris between
two ibises or cranes, which stand in an attitude of adoration. The
lower part of Osiris terminates in a pillar, upon which is an Etruscan
inscription. On the back of this cippus is a bilingual inscription,
hieroglyphic and Etruscan. Terra cotta."

13. Statuette of Aphrodite in the typical pose; very ancient.
Arch. Zeit., 1864, PI. 182, i. The chiton falls in large zig/ag folds
over her r. arm and she is raising it a little with her 1. hand. She
holds to her breast with her r. hand something which in the draw-
ing appears to be a dove, but which according to the catalogue
would be a pear or pomegranate. The round, plump face, with
pouting lips, eyes set in obliquely, and very large round ears, is framed
by long curls ; the head is as it were drawn backwards by the full,
thick mass of hair which falls down her back to her waist. The pro-
porrions very thick-set. Back very flat. Terra cotta. H. 0*25.
At the back is written "Samos, 1823," at the bottom "Cyprus."

M.C. 18

274 CANTERBURY I4 — 45.

14. Female figure : in a flowing robe, in a dancing attitude.
Terra cotta. From Delos, 1823.

15. Dionysos: as a youth, with an ivy wreath on his yellow hair.
The god stands in repose, holding the wide cloak, which covers his
1. arm and the whole of his back, with the r. hand, as if he were
going to throw it round him. Terra cotta. Cf. Arch. Zeif., 1864, pp.
144 sq. H. o'i3. [From a sketch by Scharf]

16. Female dancer : draped in a \vide ungirdled chiton which
has slipped off her r. shoulder and breast and surrounds her body in
flowing folds. In her lowered 1. hand she holds the tympanon.
Terra cotta. FI. o'i6. Cf. Arck. Zeit., 1864, p. 144, and the similar
figure in Janssen's Terra-Cotta's U Leydeti, PI. 7, 32. [From a
sketch by Scharf]

17 — 21. 24. Heads in terra cotta.

25. Head with laughing face, with a Pan's pipe.

27. Head of a wolf, or a wolf-dog. Arch. Zeit., 1864, PI.
182, 5. Fine expression. From Argos. L. o'o5.

35. Pomegranate, cut open to shew the interior, admirably
done. Hollow and very light, of a rich and pale clay; a small hole
at the bottom. Found near Mount Athos, 182 1 (according to the
catalogue near Athens). W. o-oS. Cf. Arch. Zeit., 1S64, p. 144.
From a sketch by Scharf]

37—54. Lamps in terra cotta, some of them bearing the
potter's name. Among them may be specially mentioned :

43. Mercury, with winged hat, holding a caduceus.

44. Jupiter's eagle carrying off the boy Ganymedes. A7rh.
Zeit., 1864, PI. 181, 3. The inscription at the bottom MCHRI 97
awakens suspicion.

45. Odysseus bound to the mast of his ship, looking at the
Siren, who is portrayed in a very unusual manner : desinit in piscem
mulier formosa snperne. Arch. Zeit., 1864, PI. 181, i, cf. 1865, p. 32.
Cf Liber mo7tstrorum, I, 7 (M. Haupt, Opuscula, 11. p. 224). Sire?iae
sunt marinae piiellae, quae navigatites pulcherrima forma et cantus
decipiunt dulcedine, et a capite usque ad timbilicutn sunt corpore vir-
ginali et httmano generi simillimae, squamosas tamen pisctum caudas
habent, quibus in gurgite semper late?it. In the ship is the steersman
with a companion, who has his fingers in his ears. Terra cotta.
At the bottom the potter's name, C. Iun(ius) Bit. On account of
the unusual form given to the Siren the antique origin, either of the
lamp as a whole, or of portions of it, has been seriously doubted,
see Schrader, die Sirenen, Berlin 1868, p. 73. Heydemann, ^//«.

CANTERBURY 46— 143. 275

dell Inst., 1876, p. 357 (who gives further references). It is not the
only specimen in the collection subject to suspicion, cf. nos. 44,

155-

46. " Man bearing a pole across his shoulders, with a vessel
at one end and a faun at the other. He holds a staff to support his
hand."

54, High lamp, on the stem of which Aphrodite is depicted
nude, with a drapery round 1. leg. Arch. Zeit., 1864, PI. 181, 4.
Traces of red colouring. From Histiaea in Euboea.

55 — 128. 156 — 170. Vessels, urns, vases of various shapes,
of terra cotta and marble, among them are also some painted
vases of which I think the following the most noticeable.

Ill, Nasiterno from Megara of " Corinthian" style, with
imaginary animals.

113. Lekythos, with red figure, Nike pouring wine on an
altar.

116. Lekythos, from Athens, coloured outlines on white ground.
A youth and a girl adorning a tomb with garlands. " Orestes and
Electra at the tomb of Agamemnon." (Nos. 117, 118 appear to be
of the same character, but the representations are much defaced.)

125. Lekythos, in the style of Nola, with yellow figure. A
lady holding a mirror, and approaching a chair.

131. " Metallic mirror, from a tomb at Athens."

132 — 154. 171 — 175. Sculptures in marble or stone, many of
which are fragmentary. Among them :

135. " Carved figure, in marble or stone, coloured red, from
the neighbourhood of Mount Athos. The head has a hood-like
covering, with cloak and robe reaching to the knees. Inscription to
the left : ATHAIERUS. INOI."

136. " Horse and rider, in rough marble ; much worn."
Probably a sepulchral relief.

137. " Sepulchral relief in stone. A man reclining on a
couch, a female by the side, seated, holding his hand (?), and a child
at her elbow ; two attendants, near a bust on a pedestal," surely a
terminal bust

140. " Relief in marble, a man holding a club, standing be-
side a horse. Fragmentary, and much worn. From the neighbour-
hood of Buyukdere," on the European side of the Bosporos.

143. Head of Bacchus, ivy-crowned, with a broad fillet
round the forehead. Arch. Zeit., 1S64, PI. 182, 3. Admirably worked,
well moulded, and full of spirit. From Naxos. Fragmentary. The

18—2

2/6 CANTERBURY 144 — 174.

material, although not expressly mentioned, seems to be marble.
L. efface about o'i5.

144 — 148. Small heads in marble.

149. Sepulchral relief, in marble, from Brussa. " A man on
horseback in front of an altar, over which is a snake, clinging to a
tree on the opposite side." Cf the relief in Ephesus, J///j. IVorsl.,
CI. I. PI. 20 (PI. 9, I.).

150. Relief, in marble, from Corcyra. A votive offering,
hollowed for the hand to carry it. An inscription in Greek : '^Callis-
tits (presents this) as a thank-offering for the prosperity 0/ Alexander."

155. Terra cotta slab, said to be from Syracuse, containing
an exact copy of that part of the reliefs of the Ara Casali (Wieseler,
Ara Casali, PI. 3, uppermost section) which is generally referred to
the dragging of Hektor by Achilleus, by others to that of Troilos
(Virgil, Acn., i. 474 f). Arch. Zeit. 1864, PI. 181, 2. The slab is
probably a modern forgery, see Brunn, Arch. Am., 1864, p. 303.

167. A small krater on a pedestal, with yellow figures. Four
female heads and a bird. From lower Italy (?). H. o'oS. Cf. Arch.
Zeit., 1864, pp. 144 f.

172. Sepulchral relief, in marble. "A man on a couch
holding a ring (?, a cup, probably) in his right hand ; a woman is seated
by his side, and a child. A table with three legs. Below, two oxen
drawing a plough. Inscription not legible."

174. Sepulchral relief. " Two figures on a couch. Below
the couch, a boy with a vessel in his left hand. Greek inscription of
the Christian era."

Some small bronzes and other small antiques are to be found
in case I, Shelves 18 and 19.

In the Hall are preserved two fragments of Mosaic pavement
of the simplest description, found at Canterbury; one of them is
ornamented with a two-handled vessel.

CHATSWORTH (Derbyshire).

Marbles, Bronzes and Fragments at Chatsworth. London 1838, 4°
(I had not access to this catalogue). Waagen, Treas., in. pp. 365 f.
(II. p. 448).

The Castle of the Duke of Devonshire is celebrated for
its large collection of art treasures. In the splendid Sculpture
GALLERY, among masterpieces by modern sculptors, are to be found
also the following antiques.

ciiATSWORTii 2. ciiiciii:sti;k. 277

1. "A colossal antique bust of Alexander the Great, with
rich flowing hair disposed like that of Jupiter, and very noble features;
of an idealised character, but agreeing very well in the main features
with the celebrated portrait-bust in the Louvre. New : half the
nose, and all from the throat downwards." [ JF]

2. "An antique bronze ; two greyhounds licking each other:
admirable in expression and motive, but of inferior execution in
deUils." [;F]

In the Conservatories Waagen observed —

3. "Tasteful Roman cinerary urns."
Winckclmann mentions besides {Kuiistgesch. vii. 2. 27) —

4. A bronze bust of Plato, which the Duke of Devonshire is
said to have received from Greece about 30 years before the com-
pletion of the Kunstgeschichte'vci. 1762. I do not know whether this
bust is at Chatsworth or at Devonshire House in London, or in the
villa at Chiswick, or whether it is still in the possession of the ducal
family at all. We shall probably not be far wrong if in the so-called
" Plato" we suspect a bearded Dionysos.

[5. Fragment from the Parthenon (recognised as such by
Count Leon de Laborde). At the request of Mr C. T. Newton it
was presented by the late Duke to the British Museum in 1855. Mr
Newton afterwards identified the head with that belonging to the
torso of the vanquished Lapith from the south metope xvi (Michaelis,
Parthenon, PI. 3). See Acade?ny, 1875, p. 365. Gtiide to the Par-
thenon Sculptures, p. 40. How the fragment came to Chatsworth
is not known.]

Library.
A Bronze head, somewhat above life-size, apparently of Apollo;
with signs of a wreath, which has disappeared. Hair very elaborately
treated, and gathered at the back into clustering ringlets; eye-sockets
empty ; face completely preserved. The bronze is of unusual thick-
ness, and has a beautiful bluish patina. Late, somewhat heavy
workmanship. Said to have been brought by one of the recent
Uukes from Smyrna ; the type is quite analogous to that figured on
the obverse of a well-known group of the copper coins of that city,
the so-called 'Ofir/pcia, cf. Eckhel. [Colvin.]

CHICHESTER (Sussex).
The Municipal Museum and the neighbouring Goodwood Park,
which belongs to the Duke of Richmond, contain, as far as I know.

278 CLUMBER PARK. DALKEITH PALACE.

only native antiquities, and in particular Roman inscriptions. Cf.
Huebner, Monatsbericht der Berliner Akadcmie, 1868, p. 90.

CLUMBER PARK (Nottinghamshire).

Among the "Antiquities, Sculptures and Paintings" which he
had not seen Waagen mentions those of the Duke of Newcastle
in his original German work (11. p. 479). On the occasion of
a later visit {Treas., iv. p. 508) he confines his descriptions to paint-
ings. In March 1878 a fire destroyed part of the house. On that
occasion perished inter alia " the collection of [antique ?] busts which
graced the entrance-hall. A number of art-treasures from the ruins
of Pompeii, two sarcophagi, a number of vases, and several urns were
consumed." {Illustr. London Ahics, Apr. 5, 1879, p. 332.) I cannot
say whether there are any antiquities at Clumber Park now.

COLCHESTER (Essex).

Both the public Museum in the Casde and the collection of the
Rev. J. H. PoLLEXFEN contain only native antiquities. In the
Museum may be seen the remarkable so-called Colchester Vase
(C /. Lat., VII. 1335, 3); the chief ornament of Mr Pollexfen's collec-
tion was a glass vase with reliefs and inscriptions, which has lately
been placed in the British Museum, {ibid. vii. 1273). See Huebner,
Mo7iaisbericht der Berliner Akademie, 1868, pp. 86 ff.

CORFE CASTLE (Dorsetshire).
See art. Kingston Hall.

DALKEITH PALACE (Scotland).
Waagen, Treas., iv. p. 436.

In this magnificent Castle of the Duke of Buccleuch, situated
not far from Edinburgh, may be mentioned the torso of an antique
female statue of Parian marble, of good workmanship, especially
of the drapery. The head is modern. This is remarkable as having
been found in England. [ /F]

At the beginning of the century a considerable collection of Roman
antiques, which the Marquis of Monthermer had brought from
Italy, was to be seen in the town house of the Duke of Buccleuch,

DEETDEXE I.

279

Privy Gardens, Westminster. This mansion was afterwards pulled
down and Montagu House was built for the Duke. It is possible
that when this was done the antiquities were dispersed. (Cf. Introd.
notes 245, 328).

DEEPDENE (Surrey).

Clarac, 111. p. 64. Waagen, Treas., 11. pp. 112 f. (11. pp. 135 f)
Michaelis, Arch. Zeitung, 1874, pp. 15 f. In 1861 I merely paid a
flying visit to the collection, but in 1877, by the courteous permission
of the owner, Mrs Hope, I was able to examine it at leisure.

At the close of the last century and the beginning of the present
one Thomas Hope formed a collection of antiques, which his son and
heir afterwards increased. These rested for a long time in the
London residence of the family. (Cf. Hope, Household furniture,
London, 1807, and above Introd. § 61.) There Clarac went through
the statues in 1S33, while in 1835 Waagen contented himself with a
superficial look at them. The whole collection was removed after-
wards to Deepdene, once a seat of the Arundel family, situated
in a wonderfully beautiful wooded valley not far from Box Hill,
where the beauty of nature and the glorious products of art vie with
each other for preeminence.

THE Hall.

On three sides of this striking room is a corridor under six arches
on each side, supported by square columns, and above this corridor
is a gallery adorned with Corinthian columns. In the archways,
before the pillars, and in the corridors, stand groups, statues and
busts, chiefly of marble, but in part also of stone and of bronze.
Among them are masterpieces by modem sculptors (Thorwaldsen's
Jason and Shepherd, Canova's Venus), and careful copies of celebrated
antiques ; besides them (beginning from the west side) the following
antiquities in marble :

I. Satyr's head, of the refined kind like the Resting Satyr
(Miiller-Wieseler, i. 35, 143), originating perhaps from a copy of this.
Head unusually good, in fact one of the best Satyr's heads I know.
Eyelids very sharply indicated, and at the edge surrounded by a
lightly incised line. Hair admirably treated. New : tip of nose, part
of the pointed ears and of the hair, a part of top of head and the
whole of the bust. Excellent Parian marble. Life size. [■']

280 DEEPDENE 2—4.

2. Apollo. Clarac, iii. 476 B, 905 C. Only the torso is part
of the original statue. This torso does not belong to a Saurokionos,
but to that enigmatical type in which a cloak hangs to the ground
from the uplifted 1. arm and a swan is depicted beside the figure
sitting on the ground, cf. Clarac, iii. 479, 918 ; 483, 928 ; Dilthey in
the rhcinische Jahrbucher, Lii, p. 51, note 2. This is shown by the
position of the legs, which are crossed. Of good delicate work.
Beautiful yellowish Parian marble. New: lower half of the r. leg,
three-quarters of the 1. leg, stem of tree with serpent, 1. arm including
the shoulder, r. arm from shoulder, and the neck. The head, which
is of Greek marble and not so well executed as the body, did
not originally belong to this. The hair is brushed up on both sides
towards the top of the head, but not from the forehead. New : nose
and chin and the hair on the top of the head. H. 1-51. [*]

3. Dionysos and Idol. Spec, n. PL 53. Clarac, iv. 695,
1614. Miiller-Wieseler, 11. 33, 372. Gerhard, Ges. Abhatidl., PL 32,
5. Uionysos, in short chiton with a nebris thrown over it crossmse,
is leaning his 1. arm on a statue of an Aphrodite-Spes, crowned with
flowers ; the drapery of this statue is of an ancient style, with the well-
known motive of the garment hfted with the 1. hand. The nebris is
very tightly confined by the girdle, and this is the more singular, as the
girdle passes directly the animal's head. The main part of the group
shows a close connection of the two figures and is very well executed.
It is of a fine-grained marble with grey spots, and is in tolerably
good preservation. New : both of Dionysos' arms from about the
cloak, including the attributes (thyrsos and kantharos), lowerhalf of the
r. and the greater part of 1. leg, and the edge of the drapery that falls
down by the r. leg; the neck. The antique head (new: nose,
mouth, chin, L cheek, great part of the corymbi of the ivy), of coarse-
grained Parian marble, did not belong to the figure originally. In
the female statue, both of the arms, from the drapery downwards, are
new ; so is the uplifted corner of the drapery, half of the lower legs
and the pedestal. H. 2-00. (A replica, somewhat larger, was found
at Tusculum towards the close of the 17th cent.; it came into the
possession of the March. Cavalieri [Buonarroti, Medagliont, p. 420.
Mafifei, Raccolta, PL 134, p. 126. Montfaucon, Aiit. ExpL, i. PI.
151], was then in the Palace Lucatelli al Corso [Guattani, Mon.
Incd., 1785, Sept., PL 2. Clarac, iv. 695, 1615. Gerhard, /. c, PL
32, 6], and is now in St. Petersburgh, Ermitage, no. 156.) [*]

4. Apollo and Hyakinthos. 5/c<:., 11. PL 51. Clarac, ni.
494 B, 966 A. Miiller-Wieseler, n. 12, 139. The group has been

DEEPDENE 4. 281

much restored, but there is not a doubt that the two figures originally
belonged to each other. The god is leaning mostly on his 1. leg,
his body softly bent, and rests his r. elbow on the trunk of a tree,
before which his favourite (represented much smaller) is standing in
a rather calm attitude. The latter holds in his outstretched r. hand
a flat, thin object, which on the side nearest to the hand finishes in a
straight line, but the edge of which on the other side is broken off all
round and restored to a semicircular form. It has been suggested
that this is the disc which was to become so fatally important to
the boy, but if it is so it is of very unusual shape. New: Apollo's 1.
shin between knee and ankle, his 1. hand, r. arm, including the
shoulder, and neck; the head is of the same kind of marble, and
certainly belongs to the statue, but half the nose, the edges of the
ears, the plait at the back of the neck and the long flowing curls
have been restored ; and this restoration of the hair shows plainly
that the restorer did not understand the intention of the sculptor
■with regard to it, as it was originally all drawn up to the top of the
head and fastened there in a large knot (cf. Broadlands, no. i.
Petworth, no. 7). Although Hyakinthos' 1. arm, which is lowered, is
broken below the elbow, his 1. hand is preserved entire with all its
fingers, these being bound together with rather strong supports. A
considerable portion of the lower half of the r. arm is mended and is
apparently new, but the hand and the part of the supposed disc
nearest to it are old (see above). The neck modern ; head old,
but it does not appear to belong to the statue, as there is no trace
of the distinct coarse grain of the Parian marble of which the rest is
composed ; the head has, in fact, besides the tip of the nose and
many parts of the curls (which are restored), been so much touched
up that it has now quite an affected modern character. Hyakinthos
touches Apollo only with his 1. shoulder ; at this point the group has
certainly been broken at one time, but there is no doubt as to the
original connection of the parts with each other; the same may be
said of many fractures of the legs. All of the trunk behind Hyakin-
thos, except the lowest part, is new. This group is said to have
been the particular favourite of Canova; he must however have
admired the delicate pose of Apollo more than the execution of the
whole. We are struck by a peculiar flatness in the surfaces and a
marked crudity in their transitions, (e.g. the muscles of the paunch)
which are far from pleasing. The boy is more delicate, but still
not exempt from these faults. Altogether the group is a remarkable
work. Cf. Kekule's remarks Bu//. dclf Inst. 18C6, p. 100. Miiller's

282 DEEPDENE 5 — 7.

interpretation that Dionysos and his cupbearer are intended (Botti-
ga'sAmalthea, in. p. 253) is certainly wrong. From Hadrian's villa.
H. 2-03. [*]

5. Zeus (" Antoninus Pius "). There is no doubt that this
grand figure was originally intended for Zeus, but got changed
into Antoninus Pius by the addition of the modern head and neck.
The powerful body rests on the r. leg, while the 1. is slightly bent ;
the r. arm is lowered (the lower part of the arm is modern, and
should be held rather further forward, as is shewn by traces of a
support at the thigh); the 1. arm (of which the hand is restored)
forms nearly a right angle, shoulder and arm are draped in a chlamys,
which falls low near the god's side, (restored here and there). The
legs are broken in many places, but the essential parts are old,
except the foremost part of the 1. and a piece of the r. foot ; the
pedestal too and the eagle which stands beside the r. foot and is
looking up at its master (the greater part of both wings and the beak
have been restored) are old and evidently part of the original work-
The body and the drapery are well treated. Thasian marble of
very micaceous grain. H. i'95. Similar figures of Zeus, without
exception only statuettes, are to be seen in Overbeck's Ktinsttnytho-
logie, II. p. 145 and Atlas 1. Fig. 17; according to these a thunderbolt
should be restored to the lowered r. hand. [*]

6. Aphrodite. Clarac, iv. 626 A, 1345. In all essential
parts the goddess reproduces the motive of the Venus de Medici,
with the exception that her ample flowing drapery encircles the
backs and sides of her legs and is gathered to the lower part of her
body in her 1. hand. (Cf. Bernoulli, Aphrodite, pp. 255 f) New:
lower half of r. arm ; neck and head (with an additional new tip to
the nose) and here and there small restorations. Good work in
excellent preservation. Coarse-grained Parian marble. H. i -So. [*]

7. Hygieia. Spec, i. PI. 26. Clarac, iv. 555, 11 78. Miiller-
Wieseler, 11. 61, 780. (Cf. Lansdowne House, no. 10.) Beautiful
figure draped in long chiton and also enveloped in an ample cloak
which is thrown back over the 1. shoulder. She stands on the r. leg,
the 1. being placed slightly back. A cloth wound round her head,
which is lowered. A large snake coils round her 1. shoulder and
down her breast to the r. forearm. New : 1. hand, the r. forearm
with the cup, very considerable portions of the snake and several
patches on the garment, particularly on the left side. The joint
between the bust and the neck is somewhat repaired, but there
is no doubt that the neck with the head belong to the statue ; Fea

DEEl'DEXE 8. 283

(see below) bears the same testimony. The nose is new, and glass
eyes have been put in ; the head is somewhat rubbed. The cloak is
excellently arranged and well executed; here and there perhaps
the details have received almost too much attention ; the execution
of the chiton is rather dry and finnicking. A cord, which passing
from the neck over the shoulder and drawn under the right arm,
causes a number of small folds in the chiton, is worthy of notice
(cf one of the female figures of the eastern pediment of the Parthenon,
Mus. Marbles, vi. PI. 11. Michaelis, Parthenon, PI. 6, 16, and Wilton,
no. 159). The statue has been a good deal retouched, but is still
worthy of great praise. The marble appears to be Italian, not
Pentelic {marmo cippolla) as Fea states. Found in 1797 at Ostia, on
the spot Tor Bovacciano (Fea, Viaggio ad Ostia, p. 45), "among the
ruins of a magnificent palace, and thirty feet below the surface of the
ground, broken into fragments, and buried immediately under the
niches, in which they had been once placed." (Dallaway, Of
Statuary, p. S5S-) H. 1-96. [*]

8. Statue of Antinous. Sj>ec, 11. PI. 52. Clarac, v. 945,
2430 B. This elegant statue is unusually well executed and although
it has been touched up here and there, it is on the whole exceed-
ingly well preserved. The youthful Antinous is represented in slight
movement, his handsome head looking up and his r. arm stretched
out in the same direction. The restorer has added the cup in his r.
hand, and the vase in his lowered 1. hand, thus imparting the
character of a Ganymede to the statue, but this character suits well
with the delicacy of form of our statue and is also in harmony
with Antinous' position as the favourite {catainitus) of Hadrian ;
cf. Prudentius, In Symmachum, i. 271 : qttid loquar Aniinoiim caeksti
in sede locatum ? | ilium dclicias nunc divi principis, ilium \ purpurea
in gremio spoliatum sorte virili \ Hadrianique dei Ganymedem, non
cyailws dis \ porgere, sed medio recubantem cum love fiilcro \ nectaris
atnbrosii sacrum potare lyaeum \ cumque suo iti templis vota exaudire
marito? The breadth of chest usually given to the handsome
Bithynian is here much reduced, the hair too does not fall in such
masses at the back of the neck, and the weak and eflfeminate ren-
dering of the pubes is worthy of notice. All this accords well with
its acceptation as an Antinous-Ganymcdes, which may once have
been grouped with a Hadrianus-Jupiter. New : tip of the nose,
both fore-arms with their additions, the lower half of the 1. leg with
the greater part of the pedestal, four toes of the r. foot and parts
of the chlamys. The last-mentioned is spread over the trunk of a

284 DEEPDENE 9 — 12.

tree by the side of the r. leg. The head has never been broken ;
the pedestal which is constructed like the base of an Attic column,
spira, is of irregular form. Marble, Parian somewhat stained
through oxydation. Our statue is probably the one which Al. Hirt
saw in Rome towards the end of the last century at the sculptor
Sposimo's ; which came from Hadrian's Villa at Tivoli, the original
home of several of our most remarkable Antinous statues. (Levezow,
Ucber den Antinous, Y>. iii.) H. i'93. [*]

9. Statue of Asklepios. Clarac, iv. 548, 1158 (the drawing
PI. 549, 1 1 58, borrowed from Guattani, Afon. Ined., 1784, Nov., PI. 2,
refers, as Clarac himself remarks in the text, to a totally different statue).
Enveloped in the customary manner in his cloak the god stands on
his 1. leg, his r. leg being slightly bent ; his 1. arm rests on his hip,
and his r. shoulder is supported by a long staff. New: the r.
arm, which has been much broken, is entirely, or almost entirely,
new (perhaps the elbow and the parts nearest to it are old); the
club round which the snake coils except the uppermost piece under
the shoulder, which looks more like the end of a thin staff; both
feet and almost the whole of the casket by the 1. foot, of which
only one of the upper corners is antique. Many edges of the folds
have also been restored. Neck and head, the long curls of which,
although they have in no instance preserved their original length,
yet do not touch the shoulders and the back of the neck, belong
to a Serapis, of somewhat sullen, but not gloomy expression, the
forehead being much shaded by the curls. New : tip of nose,
upper and back parts of head where the modius may once have
rested. The figure appears to be of Italian marble and is well
executed, particularly the folds on 1. arm ; the work of the head is
not nearly so good. H. 2'os. [*]

10. Quadrangular Cinerarium. Front : on each corner is
a spiral column and between them a kind of candelabrum, all of
which support two wreaths, with birds; within the field formed by
the curve of each wreath is a tablet with a spurious inscription, on
the 1. : D M\ M Nutonius \ Celer \ vixif [sic] ann \ XXXXII m
III, on the r. : D M \ nlia [sic] Secunda \ fee. L. Avillayit \ ecnd.
gr. nigrae \ coniiig dignissi. On each adjacent side tendrils. The
lid is modern. H. 0-28. L. 0-51. [*]

11. Round Cinerarium, ornamented with tendrils.

12. Antique female figure. Standing stiffly with legs close
together and both forearms outstretched. The narrow chiton is quite
plain and has only a broad perpendicular fold in front between the

DEICrOENE 13 — 15. 285

legs. Over the chiton is worn a woollen jacket which reaches to the
hips ; it is somewhat shorter in the midille of the front, and round
the neck it is bordered with a plain band. The sleeves reach to
the elbow. A narrow shawl lies in small parallel folds on the neck,
and then flows in zigzag folds to the calf of the leg. The chest as
a whole is much raised, but the breasts are very little separated from
each other. Three long closely-woven plaits fall on each shoulder
and down on the shawl. The head, with its artistically stiff coiffure
and the stephanfe, may belong to the figure, though the neck has
been much pieced ; the nose and other details have been restored.
New : great part of r. fore-arm, the sistrum in the r. hand and
the 1. fore-arm. Good archaistic imitation of an old type. (Cf.
Lebas, Voyage Anhiol., Moii.fig., PI. 2, 2.) H. 1-46. [*]

13. Archaistic female figure, standing with both feet
straight, raising a corner of the chiton mth 1. hand. She wears a
doubled chiton, the outer part of which lies plainly on the breast; four
dowel holes in the body below this outer fold seem to indicate
that a metal girdle was once attached to the figure. The legs were
broken, and have been patched; r. arm (the lower half stretched
out) is for the most part new ; though the neck is modern, still the
head, with stiff rows of curls and a stephanfe, probably belongs
originally to the figure. New : nose and upper lip. The affected
archaism of the statue aims at the utmost simplicity possible.
Coarse-grained Parian marble. H. i"36. [*]

14. A man's right arm, preserved from a little above the
elbow, broken above the ^vrist. The outer side has suffered much
from the weather, the inside is almost flat, and the fingers of the
clenched fist have been quite neglected inside; the hand holds a
bronze tool, that is like a large nail. The marble is apparently not
Pentelic; and this circumstance, together with the fact that the work is
anything but remarkable, shews that the fragment certainly did not
belong to a metope of the Parthenon as is stated (Michaelis,
Parthenon, p. 124). L. ©•31, from the bend of the elbow to the
wTist 0-165. [*]

Gallery of the Hall.

15. Head of a Roman lady of rank, with a stephanfe adorned
with palmettes : belongs probably to the first century, and reminds
us somewhat of Agrippina. A fine head with strongly, much
arched nose and a very delicate mouth; the hair forms numerous

286 DEEPDENE l6— 19.

little ringlets on the forehead. New : great part of the stephane,
half the nose, and all the bust, which is draped. Life size. [*]

16. Terminal head of a victorious youth, with fillet of
victory in his curly hair. The head, which is slightly looking up, is
inclined somewhat 1. after the manner of the heads of Alexander.
Features very much rounded, eyes small. The whole character is
Lysippian, but more in the style of an Herakles than the head of
the Apoxyomenos. The nose is new, the hair has been restored in
places. Good sculpture. Life size. [*]

17. Torso of a youth, resting on r. leg. Very small part of
legs preserved ; the r. arm was lowered and the 1. probably formed
a right angle with the elbow, which was supported on some object ;
only a part of the arm is preserved and even this is perhaps spurious.
Indifferent sculpture. H. 0-42. [*]

18. Statue of Seilenos as Herakles. Clarac, v. 790 B, 1984
A. The motive of this statue is the same as the Farnese ' Resting
Herakles ' by Glykon, with the exception that here the inclination of
the body is exaggerated even to parody, and the lion's skin (restored
in many places) covers the head, a part of the back, and the upper end
of the club on which the 1. shoulder of the statue is supported. The
face (the nose has been restored) belongs undoubtedly to a bald-headed
Seilenos, who is here making a parody of Herakles, as Eros does
sometimes. New : r. arm and probably also the hand behind the
back, with the bunch of grapes, which takes the place of the apples
of the Hesperides ; 1. hand, exclusive of the thumb, the lower part
of the club, the lower half of both legs, the pedestal and the lowest
portion of the mass of rock on which the club rests. Decorative
sculpture. Greek marble. H. 071. (A statuette of "Hercules
rusticus," "about 4 palmi" [o'88] high, formerly in the possession
of the architect Carlo Antonini, is rather differently restored, but is
very similar to this one, Guattani, Mon. Ined., 1787, Aug., PI. 3.
Clarac v. 790 B, 1984. Can it be that the two statues are iden-
tical?) [*]

19. Statue of Seilenos, sitting on a mass of rock. Clarac
IV. 730 B, 175s B. Seilenos is sitting in a tolerably upright posi-
tion. The original motive cannot be distinguished with sufficient
certainty, as both arms, the r. with a goblet in the hand, have been
restored. New also ; outstretched r. leg from the half of the thigh,
the 1. shin between the knee and the foot (which leans towards the
rock). The head, bald and ivy-crowned (nose, part of beard and
of wreath have been restored), is probably original, although the

DEF.rDENE 20— 24. 287

neck is a modem insertion. Good work ; Greek marble, much cor-
roded. H. 0-93. [*]

20. Dionysos. Clarac, iv. 696, 1619 B. The god is quite
nude. lie stands, resting on his r. leg, near the trunk of a tree,
before which a panther is sitting, looking up at a bunch of grapes
held by the god in his lowered r. hand. The 1. arm singularly strained
(or twisted) holds the stem of a thyrsos. The head, with long curls
and vine-\\Teath, is inclined towards the r. shoulder. The propor-
tions, particularly those of the legs, are somewhat heavy. The
head and arms were broken, the latter in many places, but as they
have been repaired with Thasian marble similar to that of the body,
it is difficult to state the restorations in detail. New : without
doubt the principal part of the panther, probably also the god's 1.
foot, almost all his 1. arm and the thyrsos, and perhaps his r. hand ;
I also doubt the authenticity of the head. Ordinary decorative work.
H. o-8i. [*]

21. Crouching greyhound bitch : with collar, raising r.
paw ; it is the counterpart to no. 23. New : mouth, ears, part of
neck, parts of the forelegs. Coarse-grained Greek marble. H.
0-64. [*]

22. Eros and Psyche. Clarac, iv. 653, 1501 B. This
group is a tolerably exact copy of the famous Capitoline Sculpture ;
here also we notice the absence of wings. Eros wears a top-knot on
his crown and so does Psyche, she further has a plait along the
parting and a fillet. Eros is certainly antique as far as his knees,
and the upper part of Psychfe's body to below her waist is old also;
the rest of her body, though much pieced, appears to be also antique,
but it is impossible to vouch for Eros' head and Psyche's forearm
and hand ; some trifles have been filled in. Rather smooth work.
Coarse-gr.iined Greek marble. H. 075. [*]

23. Crouching hound with a collar, companion to no. 21.
The upraised head and neck are put on and perhaps modern ; the
1. leg certainly modern. Good work. Marble, same as no. 21.
H. 0-68. [*]

24. Statue of " Ganymedes." Clarac, iii. 410 B, 706 A.
The statue is nude and from its bending posture it is probable that
the 1. arm rested on a support. The restorer arbitrarily made it into
a Ganymede. New : almost the whole of r. leg with the eagle, three
parts of 1. leg, the lower part of r. arm, three parts of 1. arm and the
cup, also the neck. The head (of which the nose is new), slightly
bent and encircled with a fillet, apparently belongs to the rest of the

288 DEEPDENE 25— 30.

figure, the ends of the fillet well joined to the tops of the shoulders.
The body is treated smoothly but without much character, the head
is worn. Apparently Italian marble. H. i-o6. [*]

25. Egyptian Statue with apron and calantica : 1. foot
advanced, supported behind by a column. The whole statue is pro-
bably modern. Oriental alabaster. H. 0.92. [*].

26. Statue of Hermaphroditos. Clarac, iv. 668, 1554. The
figure is perfectly nude, it rests on the r. leg and the hip is much
curved outwards. The principal part of the torso, and the thighs
with the portion of the support adhering to the 1. thigh, are antique.
The breast and hips are decidedly feminine ; the masculine member
is very weak and the navel unusually sunk. New : head and
neck, arms, together with the shoulders, part of the r. breast, and all
below the knees. Work insignificant, marble coarse-grained. H. 1 '04.
Cf. O.xford, no. 34. A very similar figure in a better state of preser-
vation is in Berlin (Clarac, v. 669, 1546 C). [*]

27. Statue of Pan. Spec, 11., PI. 55. Clarac, iv. 726 A,
1740 B. Pan, with his goat's legs, is leaning against a tree trunk,
a skin folded round his 1. arm, which he holds behind his back,
while he uplifts his r. arm. New : the whole of r. arm with the pedum
and parts of the legs ; the head has been put on, but is antique ;
only the nose and part of the horns have been restored. The figure
is well executed in a lively manner and corresponds to the one in
Dresden, no. 57 (Clarac, iii. 544, 1142). Fine-grained Greek
marble. H. 0-87. [*]

Colonnade of the South Front, first Storey.

28. Bust of Antinous in Eg}'ptian costume, with calantica
reaching below the breast. More than life size. The pupils of the
eyes and the eyebrows are indicated. Restored : nose, ears, lips, parts
of the calantica. Ordinary work. Italian marble. H. 0-67. [*]

29. Head of Athene ; colossal scale ; with the so-called
Corinthian helmet, the front shield of which is ornamented with
rams' heads. The head is inclined somewhat 1. ; the hair is gathered
into a plait behind. New : nose, upper and half lower lip, chin and
parts of helmet. Insignificant sculpture. [*]

30. Statue of a Bacchante resting on her r. leg, with the 1.
leg drawn back, supporting her r. hand on her hip and lowering the
1. She is clothed in a girdled chiton that has slipped down from
her r. shoulder, and a cloak is thrown round her hips and thighs.
Near her 1. leg stands a tree round which a snake is twined. New,-

UEEPDENi: 31—35. 289

probably 1. hand, undoubtedly the kantharos in this hand, parts of
the tree and of the snake. Neck cracked right through, but there
is no doubt that the head with its round cheeks and long curls,
adorned with an ivy wreath and fillet, is antique and belonging to
the figure ; it looks towards the 1. shoulder. The tip of the nose and
details have been restored. The entire sculpture is treated quite in
a decorative style and so thoroughly re-touched that one might take
it at first for a modern work. The back is left almost rough.
Thasian marble. H. i -30. [*]

31. Head of a Roman, colossal scale, bearded, nose unusu-
ally squeezed in and lower lip standing out ; the hair curly.

32. Statuette of a female : style of affected archaism. The
figure draped in a woollen chiton, of which we see only the sleeves
and the piece by the feet, for over it falls a cloak reaching to the
ankles, with a long piece folded over in front (diplo'idion)., and two
comers hanging in zigzag folds. L. foot is somewhat in advance.
Face surrounded by a row of round button-like curls. New : three
parts of the lowered 1. arm with an ewer, lower half of r. arm (which
is advanced), half of the feet, nose and upper lip. The imitation
of archaism is very superficial. Grey-striped marble. H. o'23. [*]

33. Bust of Cicero : apparently a modern copy of the
Mattel bust (London, Apsley House, no. i). Nose restored, neck
broken. L. of face 0-24, a measurement which agrees with that of
the Mattel bust. [*]

34. Statue of Apollo, nude, resting on his 1. leg, with r.
leg slightly bent; beside the 1. leg is the trunk of a tree. The
head, crowned with laurel, and with long curls, has been put on,
but it belongs to the figure. New : tip of nose, r. arm with quiver
(the strap of which is held by the lowered hand), lower half of the 1.
arm with the fragment of a bow, upper part of r. leg, the 1. foot
and the lowest portion of the trunk. An insignificant sculpture.
Thasian marble. H. 1-45. [*]

35. Statue of a Nymph. Cavaceppi, Race, i. PI. 22.
Clarac, iv. 599, 131 2. A replica of an oft-repeated figure, supposed
by Jahn (Archaeol. Au/s., p. 27) to be Amymont, by Bernoulli
{Aphrodite, p. 366), to be Thetis or Amphitrit^, by others to be
Aphrodite. In the above-cited engravings of the statue belonging
to " Milord Hope in England " the support beside the r. leg is
described as the trunk of a palm tree, in the copy at Deepdene
as a vase ; therefore either a new restoration has been undertaken,
or the copies are different, as other anti(iues of " Milord Hope "

M. C. 19

290 DEEPDENE 36 — 39.

(Introcl. § 54, note 244) are certainly not at Deepdene. New parts
in the Deepdene statue : lower part of r. arm, and the vase covered
with a drapery (that a support, probably a dolphin, was always there,
is proved by a pimtello on the r. hip), half of the r. foot and a part
of the pedestal. The neck is inserted, but the head old and
apparently belonging to the figure ; the hair is plaited into a large top-
knot (Ko'pu/xySos) on the crown and gathered together on the back of
the neck ; it falls in two long curls over the shoulders. The drapery
has been mended here and there. The folds are well treated and
on the I. side show a rich composition. Coarse-grained Parian
marble. H. i'4o. [*]

Library.

36. Statue of Dionysos. Clarac, iv. 696 A, 1641 A. The

god is standing in a very constrained position ; upper part of his body
nude, but round his waist and legs a wide cloak is thrown, the corners
of which fall down in zigzag folds from his advanced 1. arm. The
head has been put on, but is old ; the beard however is for the most
part new; so also are the r. arm with the goblet, the 1. forearm with the
thyrsos, the feet and a part of the cloak. The imitation of archaism
is very neatly carried out. H. 0'62. [*]

37. Statue of draped female ("Isis"). Clarac, v. 990, 2569
A. The figure stands in a constrained position with the r. foot
stretched out. She wears a long chiton, over which hangs a peplos
after the fashion of an ungirdled doubled chiton. This peplos,
which reaches very far down, is opened on the I. side, forming
slight zigzag folds. The original motive of the drapery has been
misunderstood by the restorer, to whom we are indebted for the
principal part of the upper half of the body, the head, the breast
and both arms ; also half the r. foot is new. Elegant work. H.
0-66. [*]

38. Terminal bust of the bearded Dionysos, crowned
with ivy. H. 0-20. [*]

Garden Saloon.

39. Statue of Athene. Spec, i., PI. 25. 11. PI. 9. Clarac, iii.
459j ^50- IMuller-A\'ieseler, 11. 19, 202. Braun, Kimstmytlwlogie,
PI. 59. This beautiful type, which was formerly incorrectly referred
to the Parthenos of Pheidias, is the same as that of the Farnese statue

DEEPDENF. 40, 41. 29I

(Clarac, ill. 458, 851 A), in comparison with wliich the Hope statue
is far behind in vaUie. A doubled cloak, fastened on the r. shoulder
and covered above by the wide aegis divided into two parts, forms a
splendid group of folds of simple composition and rich effect ;
below, the chiton with its smaller folds is visible ; it is seen also
on the arms. The 1. arm was always raised, the r. lowered and
advanced. The head, which is slightly inclined, has long curls, and
is covered by a closely-fitting " Attic " helmet ornamented above
with a sphinx, and on either side with a griffin. The execution of
this statue, which was formerly valued far beyond its worth, is merely
decorative ; the folds of the chiton have no life, those of the cloak
are treated meagrely; the rendering of the puckered edge of the
selvage appears particularly superficial. The back is hardly more
than indicated. The part showing the best work is the head,
together with the neck. It was made separately with a view to
insertion. We should imagine the eyes to be a modern addition,
had not Y&a. {Viaggio ad Osiia, 1802, p. 45) borne witness to their
being antique "gli occhi nd bulbo cTavorio, la pupilla incavata per
modo, che stipponeva materia di altro colore ; e le pennazze di last re
d'ottone finissime." (This last statement is incomprehensible to me,
and is certainly not borne out by the statue.) So much of the above-
mentioned ornament of the helmet is antique as to place the sphinx
and the griffins, which are known to have adorned the helmet of
the Parthenos, beyond a doubt. The plait of hair falls down
somewhat long. The aegis is rounded at the back and goes to below
the shoulder-blades. New : both arms with a part of the chiton, the
stiff figure of Nike on the r. hand and the spear in the 1., part of the
snakes on the aegis and also the chin and nose of the Gorgon's
head ; partly also the toes on the r. foot. Carrara marble. Found
at Ostia in 1797, together with no. 7, q. v. H. 2'oo [*]

40. Torso of a Satyr. Clarac, iv. 709, 167 1 C. The head,
with its pointed ears and small horns, is ancient except the nose, but
does not belong to the torso ; the neck is an insertion. New : both
arms with the cymbals, the r. leg, which is somewhat raised, with the
wooden shoe (xpovn-c^a), the lower half of 1. leg, and the principal part
of the tree trunk, with the syrinx. The torso itself, the remains of
which show that a some such movement was intended, is not so
badly e.xecuted. H. o-6i. [*]

41. Small head, like the Blacas Asklepios in the British
Museum. A pretty piece. The neck is so much bent that the
head, which is incUned 1., can look up. (Compare the head of Zeus

19 — 2

292 DEEPDKNE 42, 43.

on the Zulian cammco, Miiller-Wieseler, 11. i, 5.) The long curly
hair hangs far down on the neck. New : nose. Work not fine,
but effective. H. 0-14. L. of face 0-07. [*]

42. Marble relief: roughly sketched and of late date. AN'ith
three rows of figures, in many parts similar to the bronze plate, Mon.
deir Inst., IV. 38, i ; Arch. Zeit., 1854, PL 65, 3. H. 0-24. L. 0-19. —
Upper row. In the midst sits amid flames (?) a swan, or a
phcenix ; below are three busts, the middle one of which appears to
be female and is draped ; the two others have pointed beards and
pointed Phrygian caps. On either side stands a man in a similar
pointed cap: the man to the r. seen from the front, has a long staff in
his 1. hand, and his r. hand rests on his side ; the man to the 1. is
clothed in a chlamys, and holding a large indistinct object of the
shape of an alabastros to the 1. over the trunk of a tree (?). At
either end on a low pedestal is a bust ; the one on the r. hand of a
female, on the 1. seemingly of a man. — Middle row. In the middle
stands a female with long drapery, behind a three-legged table on
which a fish is lying ; she holds both hands out from her body at a
right angle, so that each may touch the mouth of a horse standing
quietly by. On either horse sits a rider with pointed beard and
pointed cap, short doublet and short cloak, and with the face turned
towards the spectator. Under the horse on the 1. a man hes stretched
out on the ground, below him to the r. is a dog. A serpent is visible
over each rider, with its head turned to the centre towards the head
of the female ; behind each rider in the upper corner is the upper
part of a draped figure, the one to the 1. with arms outstretched. —
Lower row. In the centre kneels a figure in short drapery,
seen from the front, partly hidden by a large mysterious object,
which may in some measure be described as a wide-stretched
slanting cross with all the corners and angles rounded off; each
upper arm of this object is held by a man with a pointed beard in
doublet, cloak and pointed cap. On the r. lies a bullock, and over it
a ram referring perhaps to the corresponding sacrifices Taurobolia
and Kriobolia; on the I. stands a draped female, facing r. and
raising her r. hand to her face as if in grief; behind her a high
unrecognisable object, below a ball or a shield. — This relief has been
known at least since the middle of the seventeenth century, as we
see by a drawing at Windsor from the collection of Dal Pozzo (Vol.
n.fol. 30). [*]

43. Four candelabra and sundry vases and pieces of
decoration have been pieced together from antique and modern

DEEPDENK 44—46. 293

fragments in the fashion of Pirancsi. For one of these candelabra
see Moses, Coll. of Antique Vases, PI. 87. [*]

Before the South B'ront oi-- the House.

44. Terminal head, bearded, probably of a Dionysos, of
good, severe archaic style. Larger than life size. [*]

45. Similar terminal head, but of very vacant e.xpression and
common style. [*]

I have not found out

46. Statue of Satyr sitting on a mass of rock. Clarac, iv.
718, 1718. R. foot placed somewhat higher than the 1., which is far
advanced. The r. arm, with a syrinx, is lowered, the 1. is e.xtendcd
with the hand open ; the head, crowned with ivy, is directing the
glance to his 1. hand. Grey marble. Clarac only expresses doubt
about the wreath and the syrinx, and says that in other respects the
statue is in a state of good preservation ; but it seems to me that the
whole figure is not free from suspicion, and even the good preserva-
tion of the arms, for instance, rather strengthens the doubts awakened
by the whole character of the composition.

The remains of a Collection of vases, that was once much
larger, are placed on shelves in a spacious room. The foundation of
this cabinet was formed by sixteen cases full of vases from Sir Will.
Hamilton's second collection (Introd. § 64), which Thomas Hope
purchased in 1801 for 4500 guineas, after eight other cases had
been lost in the shipwTeck of the Colossus off the Scilly Isles, on
their passage from Naples to England. In 1805 Hope sold 180
of the specimens. Other purchases were made gradually from
the Cawdor, Chinnery, Edwards, Coghill, Parois, Durand, Magnon-
court, Beugnot and other collections. (Millin, Mori. Ined., 11. p. 15,
Vases peints, i. p. xviii., Dallaway, 11. p. 140, note.) In 1849 a sale
of vases took place (/irf/;. Anzeiger, 1849, p. 97), and from a hurried
survey I took, it appeared to me that not many specimens of con-
spicuous value had remained behind, but that those which were left
were chiefly vases from Lower Italy, in which the decorative style
preponderated. It is however to be wished that a better review
should be made, particularly that a comparison be instituted with
Tischbein's Collection of Engravings, &•<:., Naples, 1791 — 1803, 4
Vols., the originals of which work were taken from Hamilton's second
collection (Introd. §§ 61 — 64).

294 DENTON HALL. BUNCOMBE PARK I.

DENTON HALL (Northumberland).

This estate is situated not far from Newcastle-on-Tyne, and
belongs to Lord Rokeby (the Robinson-Montagu family). I have
received a communication to the effect that here is preserved the
"bas-relief of Niobe and her children, found near Naples, and
intended as a present from his Sicilian majesty to his brother of
Spain, which was taken at sea, and purchased by the late Sir Thomas
Robinson," so highly praised by Uallaway, p. 388 (11. p. 141). In
fact the relief is not now at Rokeby Hall, once the property of Sir
Thomas, as quoted by Volkmann {Retscii, iv. p. loi), and Dallaway,
and no one there was able to say if it ever had been there. Thomas
Robinson, who died without heirs, was a brother of Matthew, 2nd
Baron Rokeby, and of Morris Robinson, whose sons, Morris and
Matthew Robinson-Montagu, became successively 3rd and 4th
Barons Rokeby. In this way the relief may have passed to Denton
Hall, while other smaller sculptures, once in the possession of
Thos. Robinson, are still to be seen at Rokeby Hall {q. v.). The
notices probably refer to a sarcophagus relief, cf Matz, Arch. Zeit.,
1873. P- 25.

DITCHLEY (Oxfordshire).

Dallaway, Of Statuary, p. 314, mentions that a statue of Hygieia
from Doctor Mead's collection {Museu!?i Meadianum, p. 221), was
on his sale in the year 1755 (Introd. § 29) transferred to Viscount
Dillon's above-mentioned country house.

DUNCOMBE PARK (Yorkshire).

Volkmann, Rciscn durch England, iv. p. 113. Waagen, Trcas.,
IV. p. 492.

This estate, which belongs to the Earl of Feversham (Duncombe
family), is near Helmsley (on a branch line of the North-Eastern
Railway). Two antiques may still be seen in the Hall which were
mentioned by Dallaway, pp. 389 ff., (11. pp. 143 ff.) as being in the
possession of Mr Duncombe.

I. A crouching dog, mentioned by Winckelmann, Kunst-
^q;i'sc/i., V. 6, 23, as a beautiful specimen ; large size. Purchased in
Rome by a zealous dilettante, Mr Jennings of Shiplake, and after-

DUNCOMBE PARK 2. 295

wards piircli.ised for a thousand guineas at a sale at Christie's by
Mr Duncombe (cf. Dallaway, Of Statuary, p. 348. Introd. § 54);
it has been engraved by Cavaceppi {Race, I. PI. 6), who had
restored the dog and who was inclined to ascribe it to no less a
master than Pheidias (Casanova, Discorsi sopra gP Antichi, p. lxi.).
Cf. Winckelmann, Werke, iv. p. 429, note 710, where similar speci-
mens are quoted. Hor. Walpole ( Works, 11. p. 463) reckons the dog
among the five chief statues of animals ; Waagen considers it more
animated and of more careful workmanship than the Florentine
dog. New : according to Waagen and to a critic in the Athenaeum,
1880, Sept. II, p. 345, only the 1. forefoot; according to Casanova
(p. LXii.) also half the muzzle. Of Parian marble. \W'\

2. Statue of a Diskobolos. Cavaceppi, Race, i. PI. 42.
Clarac, v. 863, 2196. Areplica of the Diskobolos ascribed by Visconti
to Naukydes of Argos (Mus. Pio-Clem., iii. p. 119 Mil.), which has
been more correctly recognised by Kekule as Attic {Arch. Zeit., 1866,
pp. 169 ff.),and brought into connection with Alkamenes' "canonical
statue" {aicrinomenos). The Duncombe replica appears to have
belonged originally to Giambattista Vettori in Rome (see Mercu-
rialis, De arte gymnast., 11, ch. 12); from the Villa Montalto, the
splendid creation of Pope Sixtus V., it passed through Cavaceppi's
hands to that wealthy dilettante Mr Locke of Norbury Park
(Introd. § 54), and Duncombe bought it out of Mr Locke's collec-
tion for ji{^34i. 5J-. od., (cf. Visconti, p. 121. Noehden in Bottiger,
Ajnalthea, iii. p. 12). To judge from a cast now in the Strassburg
museum and probably the only one in existence, it seems to me
a mediocre specimen not to be compared with the surpassingly
excellent Vatican statue. Such was also the opinion of Gav. Hamil-
ton, when he described the last-named statue as " much finer than
that of Mr Lock, which makes so great a noise in the world"
{Academy, 1878, Aug. 17, p. 169). It appears besides that the
statue at Duncombe is disfigured by a very inappropriate head, found,
however, already in Mercurialis' engraving (1573). New: according
to Clarac only the neck and the r. hand (which is missing in Mercu-
rialis), according to Waagen, the nose, mouth, chin, part of the neck
and the r. hand ; but neither of these connoisseurs is always quite
complete in his lists of restorations, and the insertion of the neck
cannot but strengthen the conviction that the head does not belong
to the statue, though it may be ancient. According to the above-
cited article in the Athenaaim, the statue is " of Roman work, and,
like the dog, of Parian marble." H. r68. [* U']

290 DUNCOMBE PARK 3. EASTON NESTON.

In Thomas Allen's History of the coimty of York, in. p. 471, we
further find mentioned as being in the Library four antique statues : —

3. Apollo,

4. Bacchus,

5. Mars, and

6. Mercury ; also

7. Two good busts of Cicero, and

8. Horace (?).

Volkmann gives a still fuller list, for in his time (1782) the hall
and the saloon were adorned with various statues, but it is not
stated whether they were all antique. Nos. i and 2 he ignores ; but
he mentions in the Hall : —

9. Jupiter,

10. Mercury,

11. Minerva,

12. Mars,

13. Venus,

14. Diana ;

in the Saloon he places nos. 3 — 7 ; in the Drawing room : —

15. A small statue of Antonius ;
finally in a Temple in the garden : — •

16. Four statues.

The building was severely damaged by a fire in January 1879.
The grand saloon and the library were destroyed ; the principal works
of art, in particular the dog and the Diskobolos, were however
rescued {Athenaum, 1879, Jan. 18, p. 96). Thus, the above-quoted
critic {AthencEum, 1880) found in the Hall nos. i and 2, the life-size
figures of Mercury, Apollo, and Bacchus (nos. 3, 4, 6 ?), and "a
certain number of modern busts."

DUNROBIN CASTLE (Sutherlandshire, Scotland).
I have only a communication from Edinburgh stating that the
Duke of Sutherland possesses some antiques in Dunrobin Castle
on Dornoch Firth, I can say nothing more definite about them.
Such a collection would be the most northerly of all the antique
collections in Great Britain.

EASTON NESTON (Northamptonshire).
This estate, the property of the Earls of Pomfret, is not far

EASTON NESTON I, 2. EDINBURGH. 297

from Towcester, and here were deposited a large portion of the
Arundel Marbles, till in 1755 the widowed Countess Henrietta
Louisa purchased them from her son and presented them to the
University of Oxford. (Cf. Introd. § 24.) We have a very clear
account of their arrangement at Easton Neston from George Vertue,
who probably inspected them in 1734- His work, A description
<•/ Easton Neston in NarthamptonsJiire, the seat of the Rt. Hon. the
Earl of Pomfret, is a sequel to the book, A Catalogue of the Curious
Collections of Pictures of George l^illiers, Duke of Buckingham,
London, 1758, pp. 53 — 59. This book mentions some marbles
which are not to be found at Oxford and which perhaps were left at
Easton Neston ; I therefore now append notices of them :

I, 2. "Two fine statues of the Two Scipios in their general's
habit, very perfect and exceeding fine." (P. 54.)

3. "A statue very noble, and bigger than the life, of Quintus
Fabius Maximus, in his senatorial robes (a true antique as are
both the Scipios), the 1. hand is wanting, the r. held up in a speaking
posture." (P. 54.)

4. "A sun dial." (P. 56.)

5. " A fine statue of a senator in his robes." (P. 56.)

6. " A Judith with Holofernes's head, r. arm and 1. hand want-
ing." (P. 56, where she is expressly mentioned among the antiijues;
perhaps a Muse with a mask ?)

Another statue belonging to the Arundel Collection, which has
disappeared, may also be mentioned here :

7. "Paris," Sandrart, Sculpt, vet. admiranda, Niirnberg, 1680,
PI. 54, '^ inter Arundcliana quondam monumenta, Londini" (r. and
1. reversed, as in all the engravings of this book). A youth resting
on 1. leg with r. knee bent ; his only draper)- is the chlamys which
covers his shoulders and back, and the corner of which he holds in
his lowered r. hand. His 1. hand is advanced and holds the apple,
which is like a large ball. He wears on his feet some sort of boots,
undoubtedly modern. It is difficult to believe that the 1. arm is
ynti(jue and so there is no sufficient reason to believe that Paris is
intended.

EDINBURGH.
Antiquari.\n Museum.
Catalogue of Antiquities in the Museum of the Society of Antiquaries
of Scotland. Waagen, Treas., iv., pp. 429 ff.

298 KDINRURGH, ANTIQUARIAN MUSEUM I— 23.

One division (E) embraces Greek, Etruscan, Roman and other
antiquities. Among them are eight marble sculptures from Cyrene,
which were probably all presented in 1830 by R. Hay, Esq., Under-
secretary of State. Those worthy of mention are :

I. Statue of Asklepios, marble. H. 127.

3. Fragment of a votive relief, 1. end : bounded on the 1.
by an anta, surmounted by an architrave with tiles on the top.
Quite to the 1. is Artemis, in long drapery, with two long torches ;
opposite to her is a youth half concealed by his cloak ; he has a
cup in his r. hand and a large empty cornucopia in his 1. arm
(Agathodaemon ? according to Scharf Acheloos) ; behind is a
female, draped and holding a cup. All the rest is lost. The
three figures are of equal stature and very slender, and the heads are
small and severe. Unfinished marble of good Greek style. Cf.
Arch. Zeit., 1874, p. 17. [From a sketch and notes by G.
Scharf]

12, 14, 15. Female heads : imperfect.

13. Head of a warrior, with flowing hair : imperfect.
Of the remaining marbles I may mention :

6. Sarcophagus, from Rhodes, with roof-like cover, as is
peculiar to Greek sarcophagi in contradistinction to those of Rome.
(See Matz, Arch. Zeit., 1873, pp. 11 f.)

16. Bust of Julius Caesar, life size : brought from Italy by
the late General Ramsay (from the Casali Palace in Rome ?). " The
nose is unusually thick, and the forms very prominent. If this bust
be antique, it is probably not earlier than towards the end of the 2nd
century after Christ." (Waagen, Trcas., iv. p. 431.)

22. Man on horseback, fragment from Bavay (France,
De'p. du Nord), the ancient capital of the Nervii (Bagacum).

23. Fragments of ornaments in relief, from the Choragic
monument of Lysicrates at Athens.

Of the terra cottas (nos. 28 — 117), a considerable number
come from Knidos, e. g. nos. 49 — 56 figures from the teraenos of
Demeter, nos. 57, 58 heads, nos. 59, 60 circular weights for the loom,
from the temple of Aphrodite. These antiquities are due to Mr
Newton's well-known excavations on the site of these temples, a. d.
1858, and were presented by him to the Museum.— Nos. 61 — 117
are lamps found in various places.

There are also some vases, but apparently none of any im-
portance.

KDINTiUKGII, LORD MURRAY'S COLLECTION I — 5. 299

AucniTECTs' Institution.
There is a " Catalogue of Antiquities in the Museum of the
Archit. Inst., Edinb. 1S59" ; but I only know it by name.

RoY.\L Institution.
In the buildings of the R. Institution are to be found, belonging
to the legacy of Sir J.\mes Erskine, some small torsos, and among
them that of (i) a draped female in Parian marble, and also that
of (2) a man, with the head and limbs restored. (Waagen, Treas.,
III. p. 272.) Can the former be the charming torso from Keos which
has been lost sight of, engraved in Brondstedt, Voy. ct Rccherchcs en
Grice, i. Fl. 9 ?

A. Coventry, Esq.
See London, Crichton.

Lord Murray's Collection.
Lord Murr.a.y, Gt Stuart Street, possesses, or at least did possess
in 1856, the antiques (some of which are very beautiful), collected by
General Ra.ms.\y in Rome; among them Waagen, Treas., iv. p. 431,
singles out :

1. " Flat relief of a horseman, with the chlamys and the
petasos. H. abt. o'33. W. 0-5 1."

2. " A relief in Pentelic marble, a fragment of a horse, and of
a man holding it ; treated in the style of the frieze of the Parthenon,
of rare beauty." [Sepulchral ?]

3. " Head of Bacchus, with the fig branch ; mezzo rilievo,
in terra cotta. Very noble in character, and of broad and careful
workmanship."

4. " Bacchante in bronze, with a wreath of vine-leaves, lightly
draped, and with the nebris. Two bunches of grapes at the sides.
A relief showing a very peculiar conception of the character, and of
a soft workmanship truly conformable to style." [Antique?]

5. " Bronze Statuette of Venus holding her hair in her raised
1. hand, and in the r. a golden patera [mirror?]. She is decorated
wth a golden armlet, and gold rings round her ankles. At her feet
is Cupid, holding in his 1. hand a looking-glass, in his r., as it
appears, an apple. The Venus is high, about i-io, the (original)
pedestal 0-05. The workmanship is tolerably good."

300 HAMILTON PALACE 1 — 6.

6. " Bronze vase (praefericulum) with the head of a youth,
about 3 life-size, of singular delicacy and beauty of features. The
treatment of the hair with little prominence is antiquated."

7. " Small head of Atys, or Adonis [?] of terra cotta."

The bust of Jul. Caesar has been incorporated into the Anti-
(juarian Museum, (cf. supra, no. 16).

HAMILTON PALACE (Lanarkshire, Scotland).
Waagen, Treas., in., pp. 296, 298, 305 S.
This magnificent Castle of the Duke of Hamilton is situated
near Hamilton, in the neighbourhood of Glasgow. Among the
antiques of the palace the following deserve mention :

In the Large Staircase.

1. "An admirable example of the Venus of the Capitol, in
Parian marble." [ W~\ Purchased by Gav. Hamilton, who writes thus
to Lord Shelburne, 1776, Jan. 6. {Academy, 1878, Aug. 31, p. 220.)
"The large Venus I had in my possession is now on its way to
Scotland. The Duke of Hamilton fell in love with it the moment he
saw it, and secured it immediately. It is a fine thing."

In the Dining Saloon.

2. " Antique bust of Venus ; new : nose and lower lip. The
conception remarkable as being midway between that of the Venus
of Milo and of Medici, and at the same time of a beauty of work-
manship which bears witness to a Greek chisel." [ f F]

3. " Bust of the dying Alexander; conceived exactly like
the marble at Florence, and in the finest red porphyry. Wonderfully
executed." [ IV"\ Antique ?

In the Marble Staircase.

4. 5. "Porphyry busts of the Emperors Augustus and Ves-
pasian ; the latter very forcible, and taken at an advanced period
of life." [ IV] Antique ?

6. " Admirable bust of Vespasian ; the head of nero antico,
tlie bust of coloured marble. Formerly at Strawberry Hill."
\_IV~\ Hor. Walpole, Works, 11., p. 465, says about this bust: "Ves-
pasian, in basaltes; a noble bust bought out of the collection of
Cardinal Ottoboni." Cf. Introd. § 41.

Besides these antiques described by Waagen, in the " Stowe
Catalogue," 1848 (cf Introd., notes 422, 451), p. 265, the three follow-

HAMILTON PAT.ACF, /. UII.I.IXGDON COURT. 3OI

ing "fine antique marble statues, of heroic size" are mentioned
as having been purchased by tlie Duke of Hamilton.

7. (No. 30.) "Apollo, with the attributes of the god of
Medicine. This fine statue was found in the island of Lemnos.
{£46. 6s.)"

8. (No. 31.) "A Roman Consul in the act of speaking
(;^i68). The two statues were purchased in Italy by the Duke of
Buckingham in 1829."

9. (No. 34.) "Paris holding out the apple of discord. This
statue was discovered near the ruins of the ancient Lanuvium, in
1771, by Gavin Hamilton (£52. loj-.)." Hamilton himself speaks of
this statue in his letters to Lord Shelburne, 1774, Jan. 16, May i,
(Academy, 1878, Aug. 24). According to him the neck is modern,
but the head its own. " The statue is in the attitude of giving the
apple to Venus. The drapery is very fine. It wants the left hand
and one half of the right arm. The rest is preserved, as it came out
of the sculptor's hands." The statue was found in 1773 ; Hamilton
offered it to Lord Shelburne for ^400.

According to a statement of R. Lanciani's (given by Matz in the
Nachrichten von der Kgl. Ges. d. IVtss. in Gottiiigen, 1872, p. 66), the
Duke of Hamilton possesses some volumes with original drawings
from the antique, taken from the collection of the Commend, dal
Pozzo (cf. Holkham, ad fin. and Windsor), but this statement has
been doubted by competent authority. Cf. Matz, Arch. 2^ii., 1873,
p. 34. I have not been able to obtain any more definite information
on the subject.

HILLINGDON COURT (Middlesex).
Years ago Mr Newton saw on the lawn of that place a recumbent
bull of Pentelic marble, a very fine work of the Athenian School.
It had been brought over from Athens, about sixty years ago, by the
late Mr Cockerell. In landing it at London the sailors contrived to
slip it into the Thames. The fishing it out cost so much that
Cockerell declined to pay the freight. The bull then went to the
London Custom House, where it remained some years, till Mr
James Bandincl got hold of it. He sold or gave it to Mr Miixs, the
owner of Hillingdon Court, nr. West Drayton. I am informed that
the marble is still existing in that place, but to what extent, being
exposed in the open air, it may have suffered from the destroying
influences of English climate, I am unable to say.

302 HOLKIIAM HALL I, 2.

HOLKHAM HALL (Norfolk).

Mat. Brettinghain, The plans, elevations, dfc. of Holkham, London,
1 76 1. Dallaway, pp. 275 ff. (11. pp. 7 if.) Waagen, Treasures, iii.
pp. 413 ff. (11. pp. 494 ff.). Clarac, iii. pp. 36 f. Conze, Arch. Anz.,
1864, pp. 213 f. Matz, Arch. Zeitimg, 1873, pp. 30 f. 35. Guide to
Holkham, Norwich, 1861. I have examined the collection myself
minutely (in the year 1877), and in particular I verified the notices
of restorations, which in some cases show striking discrepancies.

Thomas Coke, Earl of Leicester (ace. 1744), is the founder
of this fine collection, of the history of which a general account has
been given in the Introduction §§ 34, 42. Here may be mentioned
again the valuable Book of Accounts, kept by one of Mr Coke's
servants on his tour through Italy (a. d. 1716, 1717), which has been
discovered in the library at Holkham by the present librarian, the
Rev. Alex. Napier, whose kindness has enabled me to incorporate in
the following descriptions all that is interesting in that book. But
the main part of the antiques was procured much later for Lord
Leicester, by Matthew Brettingham, who purchased in Italy after
1755 for tli2 decoration of the sculpture gallery, and some other
rooms of Lord Leicester's newly built palace, a considerable number of
statues and busts. He gives brief information about the purchase
thereof in the above-mentioned book (see Hor. Walpole, Works, iii.,
p. 49r. Dallaway, p. 271 [11. p. 3]. Payne Knight in Specimens of
Antient Sculpture, i. on PL 72). Uallaway's information rests exclu-
sively on Brettingham's authority. Since the founder's death (1759)
the collection has not been increased. The numbering given below
follows the order in the rooms of the Hall.

Gallery of the Hall.
Besides a number of plaster casts there are here :

1. Statue of a Roman in toga: head of Septimius
Severus attached. Clarac, v. 966, 2481 A. New: of the head, tip
of nose; of the body, all r. arm with roll and half 1. forearm. Mean
work. Marble of poor quality. Bought by Brettingham. H. i'97. [*]

2. Statue of a Satyr. Clarac, iv. 704 B, 167 1 A. Only
the torso, resting on the 1. leg, old. An unimportant work. A
nebris falls from 1. shoulder down back. New : head, both arms and
r. shoulder, part of the animal's head, half the lower part of r. leg,
almost all 1. leg and the support. Purchased of Mr Pond by
Brettingham. H. i-6i. [*]

IIor,KIIA^t iTAi.L 3 — 9. 303

3. Statue of a Satyr. Clarac, iv. 714, ryot. As both arms
with the cymbals, both legs from the knees with the wooden shoe
(KfMvvf^a) and the whole support are new, it is hard to say what
the original motive of the slim statue really was. Perhaps he
held his hand over his eyes, gazing into the distance, and shading
his eyes from the glare of the sun {dT!-o(TKow€iv, aTroaKOTrevnv), a
favourite motive of later vase-painters. On the youthful curly-haired
head, which has never been broken off, one notices brutish ears, on
the back a little tail. New: nose. Mediocre sculpture. H. i"48.
This is probably the statue bought by Mr Coke about which there is
an entry in the Book of Accounts, "For the P'aunus no Rom.
crowns." [*]

4. Statue called "Julia Mammaea." Clarac, v. 929, 2371,
"Agrippina the younger." Bad modern copy of the so-called
" Pudicitia " in the Vatican Museum. Marble of the worst quality.
Bought by Mr Coke at Rome. H. 1-63. [* JF]

Saloon.

5. Head of a female Bacchante, falsely called "Juno."
The hair is partly raised above a broad band into a sort of knot,
partly it flows waving down behind, and forms a coil on the neck.
The original was good ; the copy however is very dry and moreover
much worked over. New : tip of nose and the bust with bared 1.
breast. Bought at Rome by Brettingham. L. of face, c 18. [*]

6. 7. Two specimens of Mosaic, made up into plates for
the table. On a white ground hexagonal panels with coloured
rosettes and similar ornaments, divided by black maeander patterns.
Found in the Villa of Hadrian near Tivoli, and purchased of Mon-
signor Furietti by Brettingham. [*]

South Tribune.

8. Female head, called "Julia, Titus' daughter." A large
structure of curls over the forehead. Pupils of eyes expressed. New :
tip of nose, parts of ears, neck and bust. Smooth, poor work.
L. efface 0-15. [* B]

g. Bust of Hadrian : according to Bernoulli Antoninus Pius.
But on the seriously mutilated and patched up bust all portions which
are unsuitable to Hadrian are due to restoration, e.g. the curl falling
down on the forehead. Old : only r. side of face and 1. cheek. L.
efface o- 1 8. [* £]

304 IIOLKHAM HALL IO--15.

10. Bust of Julia Mammaea. Modern : nose, upper lip,
and parts of drapery. Pupils expressed. It is a moderately executed
replica of the heads in Paris (Mongez, Iconogr. Rom., PI. 52), and
in the Vatican (Visconti, Mus. Pio-Clem., vi. PI. 57, i). H. o-6o.
L. of face, o-i6. [*/>]

11. Head of a boy, called "Geta," the Emperor, of which
numerous replicas exist, referred by Mongez {Iconogr. Rom., PI.
42) to Annius Verus. New: tip of nose and a curl. Set on a
draped bust restored in many places. H. 0-56. L. of face 0-15. \*B'\

12. Bust of a Roman, called "Gallienus": short curly
hair brushed to the sides, and slight mustaches and whiskers.
Pupils expressed. Good work. New : half the nose and the bust.
The neck and part of drapery on neck and 1. shoulder are old.
Parian marble. L. of face c 16. [*j5]

13. Bust of Marcus Aurelius, youthful. New : nose, upper
lip and bust. L. of face 0-17. Bought by Lord Leicester in Rome,
1 7 16, with no. 52 for 65 Roman crowns. [*^]

Statue G.\llery.

14. Modern bust of "Junius Brutus," on the whole similar to
the Capitoline bust of L. Brutus. Dallaway, no. 15. Bought by
Brettingham. Its genuineness seemed doubtful to Bernoulli also.
l*B\

15. Statue of 'a youthful Satyr. Clarac, iv. 723, 167 1 B.
The slim youth of graceful form, without a tail, leans with his
1. shoulder on a tree-trunk, near which the r. arm hangs down
easily. Beneath, on the trunk the remains of a crook {pedum) are
visible, the crooked end lowest, and the remains of the tie by which
the staff of the crook was tied to the trunk. Further to the front
of the trunk the bottom piece of the shaft of a spear which must have
rested in the arm of the Satyr. Both weapons are suitable to the
character of the Satyr that haunts wood and field. A great part of
the body is covered in a very thin tight-fitting nebris, the head of
which is seen near the 1. shoulder ; from which, besides, a little
cloak falls down behind the trunk of the tree. The legs are crossed,
1. slightly bent and in front of r. on which the body is supported.
The feet are in sandals. R. arm lowered, but forearm raised; the
hand may perhaps have always held the pipe. Restored by West-
macott : head, neck, three quarters of 1. arm, including the best part
of the spear and pedum, half r. forearm with the pipe. The
remainder of the statue is antique, though broken in several places.

IIOLKIIAM IIAI.L l6 — iX. 305

The pedestal is much worked over. The motive is charming and well
executed. Parian marble. For the source cf. on no. 16. H. 1-29.

16. Statue of a youthful Satyr reposing. Clarac, iv.
704 D, 1683 A. The motive is in general very like that of no. 15,
but the 1. arm does not hang down, both hands meeting before the
breast. Moreover, the figure is more boyish, and the nebris, witli an
unusually large animal's head, is drawn in a narrower strip from the
r. shoulder, slanting across the breast to the 1. upper-arm. On the
tree which supports the figure, the upper end of the pedum is antique.
On the back a little tail. Of the numerous replicas of this figure,
which is specially adapted to decorate villas and gardens, the most
celebrated is the Borghese in the Louvre. New: head, three-quarters
of r. arm, about half the 1. forearm, the pipe, lower parts of both legs,
and the lower half of the trunk of the tree. As to the source of
nos. 15 and 16 (Dallaway, nos. i, 2), Brettingiiam says: — "One
was purchased of Cardinal Albani, and the other of Cavaceppi the
sculptor (who restored them both), by Brettingham." H. 1-27.
[*/F]

17. Head of " Seneca." Modern copy (rather a caricature)
of the well-known head. Coarse marble. Dallaway, no. 16.
Bought by Brettingham. [*]

18. Statue of Poseidon. Clarac, iv. 744, 1796 A. The
god, entirely nude, is stepping forward with the r. leg, which
bears the weight of the body. The large dolphin close by, in
beautifully rendered motion, indicates the sovereignty of the sea,
with which the head is also in character. It is like that of Zeus, only
with a slightly surly e.xpression about the mouth : beard very curly,
hair thrown back, but not falling down so dank as is usually the case
with Poseidon. There is a clear trace of colour on the r. pupil.
New : nose, the whole head seriously worked over. There is some
patchery at the neck ; still, the head, though rather small, seems to
belong to the statue. This is a fairly exact replica of a considerably
larger statue, found about twenty years ago in Cherchell (Algeria), the
old capital of Mauritania (lol or Julia Caesarea), engraved Au/ia/i dc//'
InstitiUo, 1857, PI. E, I (Brunn). Overbeck, Atlas zur Ktmstmy-
thologie, PL 12, 34, cf. ib. Vol. 11., pp. 287 ff. In this latter statue the
head is more depressed, and on the advanced r. hand are the
remains of a hijipocampus (cf. Strabo, 8, p. 384). The modern r.
arm of our statue ought to be restored accordingly. A dowel hole
at the 1. shoulder, and a few smirched places, shew that the trident

M. C. 20

306 IIOLKHAM HALL 1 9, 20.

in the 1. arm has been rightly restored. Traces of the same are
also to be observed on the statue from Cherchell. Lastly, the lower
part of the 1. leg has been restored. (Clarac's remarks are in part
erroneous.) Parian marble. H. 1-64. Purchased by Brettingham
of Carlo Monaldi, who restored the arms and the trident. Dallaway,
no. 3. [*MJF]

19. Statue of Seilenos, called "Faun." Spec, 11. PI. 7.
Clarac, iv. 724, 1680 E. This most exquisite statue, distinguished
moreover by its very fortunate state of preservation, amply deserves
the celebrity which it enjoys. Not unhke in his pose to the often
repeated cusios fa?nidusque del Sileniis alumni (cf. Wilton, No. 70),
Seilenos supports himself with his 1. arm on the trunk of a tree, and
advances the relieved 1. leg a little, while the hip of the r. bearing
leg is accordingly protruded. A panther's skin knotted together
before the breast, falls down behind the back ; one corner of it being
thrown over the advanced 1. forearm. The powerfully-developed
body of a grown man, not disfigured by a tail, corresponds to the
bearded head, of dignified expression, more earnest and thoughtful
than usual, without a trace of brutish feeling ; only the goat's ears, the
bristly beard, the hair standing up above the brow, and the snub
nose betray Seilenos. A pine-wreath encircling the hair enhances the
height of the head ; the pupils are rendered, as also the updrawn eye-
brows. Modern: only the tip of the nose, 1. hand and perhaps
the r. hand with the pedum; still this hand and the held part of
the pedum may easily be old, and in any case are worked quite
differently from the I. hand. The r. arm, though broken in several
places, is old. The pedestal is mainly new. This first-rate figure,
which would do honour to any museum, and can perhaps challenge
all its fellows for the palm of merit, " was dug up in the Campagna
of Rome, and first purchased by Cardinal Albani, from whom it
was bought soon after, in the condition in which it was found,
encrusted over with Tartar of the earth, by Brettingham ; restored by
Cavaceppi." H. 1-87. [*CIV]

20. Statue of " Meleager." Clarac, v. 807, 2022 A. The
attitude of the statue is vouched for by the genuine parts. The
youth resting on the r. leg supports himself, with a considerable
bending of the upper part of the body, on the 1. arm, which is
lowered vertically so that the shoulder is much pressed up. The r.
arm lies behind the back. The curly youthful head looks 1. into the
distance. The elegant figure of good Roman work has been a little
smoothed by Cavaceppi. He has besides restored the trunk of the

IIOI.KIIAM HALL 21-

307

tree, with the boar's head and the 1. arm supported thereon up to
the biceps, also the lower parts of both legs including the knees, and
part of the r. thigh, and finally the nose. The upper part of the head
from above the chin has been broken off, but it belongs to the statue,
and has suffered less by the working over than the rest. Coarse-
grained Greek marble. H. 172. Bought of Belisario Amadei.
Dallaway, no. 5. [*BilfJV]

21. Statue of Apollo. Clarac, iii. 494 B, 912 F. The
much-broken statue is almost entirely antique. New : three-quarters
of r. leg, altar and part of base, some fingers of r. hand, 1. hand,
nose. All the other parts old, and belonging to each other. The
slim body is slightly inclined, and rests on the r. leg ; 1. arm sup-
ported on a tripod entwined with a snake, which stands on a mass of
rock ; r. arm rests on the curly head. Ordinary superficial work.
Thasian marble. H. 1-57, with the base i'64. Bought in Rome by
Mr Coke for 90 Roman crowns. Dallaway, no. 7. [*MJV]

22. Bust of the tutelary goddess of a town, or of
Kybele. Old apparently : neck, face which is turned 1. somewhat,
the stcphane adorned with flowers, and the mural crown above it,
also the long hair falling down on the shoulders. New : veil, bust
nose, chin. The bust is placed so high up that even with the help
of a high set of steps a close examination is impossible. It seems to
be of good sculpture. L. of face would be between 0-22 and 0-25.
Bought in Rome by Mr Coke together with no. 56 for 418 Roman
crowns. [* ?F]

23. Statue of Venus Genetrix. Spec, 11. PI. 54. Clarac,
IV. 594, 1449 A. We are acquainted with several types of the divine
ancestress of the Julian gens, ci. Reifferscheid, Annali delV Inst.,
1863, pp. 362 ff. Kekule, Archaeol. epigr. Mittli. atis Oesterreich, in.
pp. 8 fif. Judging from the great number of at least twenty repetitions
(see Bernoulli, Aphrodite, pp. 86 ff) the type represented in the
Holkham statue, obviously owing to its sensual, charming character,
was in later times far the greatest favourite ; it may be traced
to a conception of the Hellenistic period. The goddess, with
her weight so decidedly on the 1. leg, that the hip is forced out to
an unusual degree, is draped with an ungirdled chiton, only the 1.
breast and shoulder being left bare, but by virtue of its fine, trans-
parent, clinging texture it does not so much veil the full form as
reveal it with heightened charm ; Cois tibi paene videre est tit rutdam.
Then there is the frame as it were with which the mantle surrounds
the figure, without covering it in front, with one corner thrown

308 HOLKHAM HALL 24.

over the lowered and somewhat advanced 1. arm, while the other
corner is drawn over the r. shoulder by the raised r. hand — a
graceful, but rather coquettish motive. Finally the slight inclination
of the head harmonises well with the waving line in which the
whole body as it were sways. Yet the countenance is remarkable
for its noble and almost chaste expression, and the hair, gathered
behind into a kind of net {6irt(Tdo(r<j>evB6vrj), for its simple arrange-
ment. The proportions of the figure are somewhat heavy. The
extremely fortunate state of preservation, by which this replica is
distinguished perhaps above all others, is unluckily a little impaired
by Cavaceppi's working over. He has only joined on the 1. hand
with the hydria (instead of the apple on the coins of Sabina and the
two Faustina's), the fingers of the r. hand with the uppermost corner
of the cloak, and another piece of the folds of the cloak. R. arm
broken but old. Pentelic marble, with several cracks, slightly patched
up. H. 1-64, with base 171. Bought of Belisario Amadei by Bret-
tingham. Dallaway, no. 6. [* JV]

24. Artemis. Maffei, Raccolta, PI. 145 (in the second edition,
1742, noticed as Mr Coke's property). Montfaucon, Antiq. expU-
quk, I. PI. 87. I. Spec, 11. PL 36. Clarac, iv. 563, 1203 A. The
antique parts of this imposing statue, one of the principal ornaments
of Holkham, are of very beautiful fine-grained marble, apparently
Greek, with a few faint blackish spots. They are as much dis-
tinguished by the noble simplicity of the composition as by the
good execution ; but are however worked over and polished. The
irregular shape of the base, the straight side of which is marked by a
slight ornamentation, shews that the figure should not be seen exactly
straight from the front, but as if stepping in a direction half to the
r. of the spectator. The goddess steps out with the 1. leg, round
which the folds of the large chiton fall straight down ; the whole body
inchnes forward a little ; the r. foot is somewhat drawn back. The
chiton is doubly girded, inside and outside, so that a large row of
folds hangs down and is visible under the very edge of the diploidion.
A round cord serves as girdle. It is gracefully tied in front so that
the ends are pushed through under the cord again. The row of
hanging folds cleverly conceals a joint which divides this statue into two
separately-worked halves, the legs and the upper part of the figure.
Evidently the block of marble was not big enough for the scale of the
figure. The joint however is only visible behind. The divine huntress
is fully identified by the quiver-strap which goes from the r. shoulder
slantwise across the breast, and by a small fragment of the bow near

IIOI.KHAM HALL 25. 309

the 1. hip ; though the head and neck, the quiver and the whole of
the uplifted r. arm, and finally the 1. forearm with the bow are new.
Similarly restored, as can be seen from Maffei's drawing (a. d. 1704),
tiie statue stood in the house of Ignazio Consiglieri at Rome, whence
it was "purchased and sent out of Rome by the Earl of Leicester;
for which offence His Lordship (known at that time by the name
of the Cavalier Coke) was put under arrest, but released soon after at
the instances of the Grand Duke of Tuscany" (Brettingham). The
book of Accounts gives no direct hint as to the trustworthiness of
this record, nor are its statements referring to the statue very clear.
It shows that Mr Coke was in Rome from June to September, 1716,
and returned thither for a short time in March 1717, after an absence
of several months spent in Pisa and Florence ; at the end of April
1 717, he was again in Florence. Further, there are the following
entries in reference to our statue: " 1717, April 10. Paid for bringing
the statue of Diana from Pisa to Florence 4 crowns o pauls 5 bai."
From an account rendered by Mr Hobart (one of Mr Coke's com-
panions) on April 30, 1717, "Paid for the statue of Diana 900
crowns. Paid to Lucca Corsi for a head of Diana and for his
assistance in buying the above said statue 26 cr. 8 p." Further,
"Expended by Mr Kent at Rome. Paid for a piece of marble sent
to Florence for the head of the Diana 3 cr." In a comprehensive
notice of June 25, 1718, is the final reference "Statue of Diana
goo cr. ...Head of Diana 26 cr." As there is no single head of
Diana in Holkham, the last entry cannot but relate to the head
which, according to Brettingham, the sculptor Camillo Rusconi put
on in place of the older restoration of the statue, although in the
Book of Accounts Lucca Corsi's name is connected with the head.
At any rate, the head is a bad work. From a comparison of Maffei's
drawing with the present condition of the statue, we must infer
that the other restorations were likewise renovated. H. 179, includ-
ing the old base, which is antique, i-86. Dallaway, no. 8 : "There
is a tradition that this statue cost Lord Leicester ^1500." It may
be seen from the above citations how untrustworthy such traditions
are, even if one takes into account the cost, unquestionably very
serious, of transport from Italy to England. [*C/F]

25. Statue of Dionysos. Clarac, iv. 696, i6o8 A. The god,
entirely nude, stands near the trunk of a tree entwined with a vine,
the 1. leg a little drawn back; his figure somewhat clumsy; workman-
ship poor and insignificant. New : perhaps the head crowned with
ivy (remains of the long curls and of the fillet on both shoulders cer-

310 HOLKHAM HALL 26, 27.

tainly anlique), yet the marble is the same as that of the body;
beyond a doubt 1. forearm with grapes, toes of r. foot and a piece
of 1. leg between calf and ankle ; apparently also r. forearm and hand,
certainly several fingers and the greater part of the hydria, the foot
of which is attached to the trunk of the tree, and is antique. Several
other parts broken, but old. Thasian marble. H. i'52. Bought
by Brettingham of Cavaceppi, who restored the r. hand and 1.
arm. [* IV]

26. Bust of Thukydides ("Metrodoros"). Michaelis, B/f
Bildnisse dcs Thukydides, Strassburg, 1877. The Holkham Bust of
Thucydides. Transl. by Alex. Napier, Cambridge, 1878 (printed for
private circulation). The nomenclature is confirmed by comparison
of the inscribed terminal bust of Thukydides in Naples (Visconti,
lamogr. Gircque, i., PI. 27), which corresponds in all details and
in proportions, but in the expression of the features and in the free-
dom of the pose of the head stands far behind our bust. This is
in capital preservation. A little damage on the tip of the nose,
which does not impair the shape of that feature, a few small flaws
on forehead, 1. cheek and breast, and a few slight scratches are all
together of no consequence. Here and there the surface is some-
what rubbed, while at the back of the head remains of soil still
cling to the marble. The whole bust is antique, with the portion of
the cloak on the 1. shoulder. The r. shoulder, being a little
lifted, seems to suggest the rhetorical posture of the arm on that
statue, from which our bust may have been copied (cf. the statue in
Christodoros' Anthol. Falat., 2, 372). The head takes the same
direction. Its expression is exceedingly earnest. Beneath the lofty,
powerful forehead, which is surrounded by sparse crisp hair, lie eyes
of not large size, as it were oppressed by the thoughtful earnestness
of the wrinkled forehead : nose aquiline and large, mouth shut close
with markedly protruding upper lip, without a tinge of cheerfulness.
The crisp beard is clipped short. The skull, smoothly rounded,
bald on the top, and going down very straight behind. Our bust,
a capital portrait of the gravest of historians, is obviously a faithful
copy of a bronze original, to all appearance of the period soon after
the death of Thukydides. Marble very white, of extraordinarily fine
grain. From a faint lamination, which is especially manifest on the
r. temple, it seems to be Pentelic marble of peculiarly delicate
quality. H. 0-62. L. of face 0-22. Bought by Brettingham. [*^]

27. Statue of Athene. Clarac, in. 462 B, 888 A. In
general arrangement the statue resembles the Athene of the Hope

IIOl.KIIAM IIAI.I, 28, 29. 311

collection (Deepdeene, no. 39), but the cloak is only once thrown
around the figure, not doubled, and its folds want the grand character
of that example. The Aegis is divided into two parts and adorned
with a Medusa's head. New : the whole r. arm, including shoulder
and r. breast as far as up to the Medusa's head, 1. arm from point of
separation from the body, 1. foot with a piece of the chiton, lastly the
neck and the greatest part of the collar-like raised border of the Aegis
behind the neck : still enough of it is old to determine the motive.
Of the head, as to which it is very doubtful whether it belongs to the
statue, the back, ears, helmet and tip of nose are new. Proportions
tolerably broad. Ordinary workmanship. Marble perhaps Pentelic.
H. I '54. This statue and no. 28, obtained of Cardinal Albani
by Brettingham, were restored by Cavaceppi. \*C]V]

28. Statue of Tyche ("Ceres"). Clarac, iii. 438 B, 786 D.
Over the chiton the goddess wears a cloak, the border of which,
twisted up into a thick roll, is thrown from the r. hip over the
1. shoulder. R. breast and arm are left outside the cloak. On the
upper part of the 1. arm a small portion of the cornucopia is old, the
rest of it, and the hand new. New also three-quarters of the r. arm,
with the ears of corn ; a steering paddle was undoubtedly the original
attribute. Sundry parts of the drapery are restored. The pretty
head with a garland of fruit, of Pentelic marble, does not belong to
the statue; it is much more freely treated. Its nose, part of the
underlip, a large portion of the garland are new. Basement and foot,
with the sandals, antique. Work not bad but rather mechanical.
Marble of coarse grain, apparently Greek. H. 1-46. Of same
origin as no. 27. [* IF]

29. Bust of " Sulla." The features of Sulla on coins
scarcely correspond at all. Bernoulli knows of no second copy
of this highly interesting head. Short clipped hair covers the
skull ; under the high forehead, a little contracted above the nose,
lie sunk pretty deep small piercing eyes. Pupils and brows
lightly indicated. The long, thin, strongly arched nose takes a
decided bend downwards with the point ; only the extreme tip
is new. The vigorous mouth is full of character, with its thin lips
tightly closed ; the underlip recedes considerably. Chin tolerably
long, beardless checks broad. The expression of strong will and
subtle acuteness is enhanced by the lively turn of the head to its
own 1. It has only suffered from polishing, while the breast-piece
is seriously patched up. This signal preservation of the head
makes the work still more valuable. Fine Carrara marble, like

312 IIOLKHAM HALL 30— 33.

alabaster. H. o'S4. Length of face o"ig. Purchased by Bretting-
ham. [* B']

30. Mosaic, worked up into a plate for the table. On a
white ground vine leaves, naturally rendered, alternate with plants of
ornamental shape. Colours somewhat motley. A wand encircled by
a fillet goes all round. Found in the Villa of Hadrian near Tivoli ;
bought of Cavaceppi by Brettingham. L. o'69. Br. 0-48. [*]

North Tribune.

31. Statue of a Togatus. Clarac, v. 957, 2459 A. The
toga is arranged in the usual fashion. New : arms from the
drapery onward, and feet with boots, also various portions of the
drapery. The head, of different marble, belongs to Lucius Verus;
nose, mouth, 1. cheek and 1. brow new. Purchased at Rome by
Kent, to whom 200 Roman crowns were sent in the year 1718, "for
the Consular statue;" of. however, no. 36. H. 2'02. [*£IV]

32. " Philippus Arabs," bust of a young Roman : of the
second or third century. Hair slightly curly. Brows and pupils
indicated. New : nose. Neck and bust broken and much patched,
but belonging to the head. Over the tunic lies a cloak with a fringe.
A tablet with slight ornamentation is preserved beneath the bust.
H. 0-62. L. of face o-i6. Bought by Brettingham. {*£W'\

33. Fragment of a draped statue of a female called
"Juno." Clarac, v. 992, 2575 A ("Isis"). It was a fragment
belonging to Cardinal Albani, restored by Cavaceppi, and purchased
by Brettingham. Cavaceppi has proceeded in a very arbitrary
manner, inasmuch as the r. arm and the whole motive, suggesting
the lifting up of the cloak, are to be traced to him alone. Conse-
quently the whole drapery originally peculiar has now been made
inexplicable. The cloak fell with its one edge straight down
behind the 1. shoulder, so that only one corner thereof came in front
and covered the breast. The arm was lowered ; only the shoulder
and the junction of the arm are old. The cloak hung down behind
the back, and was drawn from the r. to the front round the body and
the legs, then again behind the back slantwise up to the r. shoulder,
from which the edge fell down behind, but a small corner was
drawn forward slantwise over the breast, and was tied in a knot with
the somewhat raised front portion of the drapery. The very end of
this corner hangs straight down in front. The edges of the drapery
are at various places restored, other portions retouched. The unusual

IIOI.KHAM HAI.I, 34 — 36. 313

motive is well carried out, and the folds are effectively executed.
Another arbitrary freak of Cavaceppi's has affected the girdled chiton,
for he has thoroughly worked over the whole portion thereof on the
r. breast, and brought it into a very unantique shape. It originally
covered this p.irt of the body, and was fastened on the shoulder.
The lowest portion of the chiton, feet and base, and a large piece on
the r. knee are restorations. The back is only a very little worked.
A broad mass of hair on the neck, and a part of the curls on the 1.
shoulder are old. The whole body is of Pentelic marble. The
head, apparently of Italian marble, is connected with it by a neck of
marble spotted with black, and certainly does not belong to the body.
The head seems to be that of a Venus, with waving hair, brushed
back and well arranged, a fillet being passed through it. The knot
behind, and the tip of the nose are new. H. 2-35. Dallaway,
no. 12. [*JF]

34. Draped statue, perhaps of Hera. Clarac, iii. 438,
754 B. The statue has been made into a Ceres by the renovation
of the r. forearm, and the addition of a handful of ears of corn,
though a Hera type gives it its fundamental characteristics, cf.
Overbeck, Griech. KunstmytJioL, iii. p. 121. It has further had
placed upon it by the insertion of a neck a head which passes for
that of the elder Agrippina, but neither has the hair treated like hers,
nor resembles her usual portraits. It has flat eyes, and the lower
part of the face recedes. The tip of the nose is new. A stephane
crowns the veiled head. Of the body itself the nude part of the r.
arm, details of the drapery, and toes of the feet are new. The chiton
is left somewhat rough, and has preserved manifest traces of reddish
colour on the r. side. The cloak is treated more smoothly, the very
deeply undercut folds suggesting some tolerably fine material. The
whole treatment is careless. The body is of Parian marble, the head
of a different kind. H. 2 'is. Bought by Brettingham as a com-
panion to no. 33 of Belisario Amadei, who procured it from the Villa
Ginnetti at Velletri. Dallaway, no. 13. \J'BIV\

35. Bust of "Faustina the younger": more likely from
the treatment of the hair to be a lady of the period of the Flavian
Emperors. Several bands of hair are laid over one another hori-
zontally, the uppermost being tied together in front. Good head,
smoothly treated. New : tip of nose, chin, ears, the greater part of
the drapery. No pupils. Beautiful Greek marble. H. 0-55. Length
offaceo-i6. Bought by Brettingham. [*/?/F]

36. Statue of "Lucius Antonius" in a toga. Maffci,

314 IIOLKIIAM HALL T,-J .

Raccolta, PI. 147. Clarac, v. 903, 2346 A. The statue, once an
ornament of the saloon of the Coiigregazione dell' Archiconfratcniita
della SS. Anmuiziata in Rome, was bought by Mr Coke. "The
arms and head are finely added by Bernini" (Brettingham). A close
examination of the statue has left no doubt in my mind as to the
correctness of this statement, though Clarac and Bernoulli hold the
head to be antique. The head, as well as the neck, quite uninjured, is
let into the tunic; the short curly hair lying close to the head is
treated in a thoroughly unantique way, as also are the eyes, mouth,
and folds of the skin. All over the head one observes the marks
of the chisel, which are afterwards polished over. Albeit the head is
so excellent in its features, expression and pose, and is set so well in
harmony with the motion of the r. arm, that the restoration is one of
the most striking successes that I know. The dispute about the
nomenclature of the head may under these circumstances be let alone.
The marble of the head is Cfirrara. The statue itself, apparently
of Pentelic marble, is of good delicate sculpture, but in many parts
worked over. The toga slanting across the breast to the 1. shoulder,
is drawn up somewhat more tightly than usual, and is difterent
in some other details from the ordinary type. Near the 1. foot
stands a round case for books (capsa, scrutium), with handle. New :
besides head and r. arm, also half 1. forearm with parts of the drapery
and the roll, r. foot and several details in the folds. If this statue is
meant by the " Consular Statue" mentioned on no. 31, as is probably
the case, the price, 200 crowns, is very reasonable. H. I'gy. [*j5 IV]

Dining Room.

37. Head of Aphrodite, colossal scale : wrongly taken for
Apollo by Waagen. See the annexed Plate. It is one of the most
striking specimens of the collection, and richly merits being better
known ; being a good copy of an original of the best period. The
conception stands about halfway between the Aphroditfe of Melos and
the Aphroditb of Knidos by Praxiteles. New : the whole of the
crown of the head with a fillet, the back of the head, the back half
of the neck ; face and front half of neck on the other hand in perfect
preservation. Forehead broad, not low ; the waving hair simply
brushed back on both sides, as in heads of the best period. Eyes
elongated and slightly sunk towards the inner corners, upper lid
convex, lower only slightly rounded. The large broad nose comes
forward in profile a little from the line of the. forehead ; it is a

,%'■

HOLKHAM N" 37.

IIOI.KIIAM MALI, 38 — 41. 315

grand design, as arc the cheeks and neck, and long, broad chin.
Space between nose and mouth very small. The slightly opened
mouth is of great winningness yet with a noble expression, thougli
perhaps not so reserved as that of the Aphroditfe of Melos.
The sublimity of the shape is toned down by a slight but effective
inclination of the head towards the r. side. This bust, rightly
designated "very capital," is one of the most beautiful of Bret-
tingham's purchases. Dallaway, no. 17. H. 0-56. L. of face
about 0-28; the several parts have the following proportions: fore-
head o-io high, nose 0-09 long ; space between nose and mouth
about 0-025, ^"^ space from mouth to chin about o-o6 ; neck from
the chin to the hollow of the throat measures o-io. [*BCAfll^

38. Bust of Geta, turned slightly r. with crisp beard not
encroaching on the face. Head and neck old. Drapery of varie-
gated marble, modern. Coarse work. The nose is restored. L. of
face 0-17. [*£IV]

39. Bust of Marcus Aurelius, not "Antoninus Pius"
(Waagen). Only the head is old, and of that the nose is new.
Pupils indicated. Drapery same as no. 38. L. of face 0-20.
[*£ W]

40. Bust of Lucius Varus, colossal scale. The sullen look
is softened and the hair somewhat less disordered than usual. Pupils
indicated. New : nose, lower part of beard, details of the hair.
This large bust, found in cleaning the port of Nettuno, was purchased
by Brettingham. Dallaway, no. 18. [*£C1F]

North-West Corridor.

41. Statuette of the Nile. Clarac, iv. 749, 1814 A. The
rivergod reclines on his 1. arm, his leg enveloped in the cloak. The
r. hand, resting on the knee, holds the fillet of a garland ; over the
whole plinth stream waves which swell from the pointed end of a
cornucopia supported by the 1. ann of the god, the horn being pierced
at its end after the manner of a drinking-horn (pvrov). From the
waves a small boy emerges with half his body out, drinking from the
flood : near him under Nile's arm the broad head of a hippopotamus;
at the feet of the god crawls a little crocodile, and near it a boy
(head missing) is clambering up, a weak reminiscence of the troop
of boys in the famous Vatican Statue {Mus. Pio-Clem., i. PL 37;
Clarac, iv. 748, 181 1), who symbolised the sixteen ells Wx"^) cubitus)
of the rise of the stream. The garlanded head (nose new) is put on,

3 '6 HOI.KHAM HALL 42—46.

but belongs to the statue. New: upper part of cornucopia with
fruits. Ordinary work. Thasian marble. L. 0-89. [*C]

42. Tyche. Clarac, v. 987, 2569 B (" Isis"). Over the chiton
a fringed cloth or cloak is thrown so as to cover the whole back and
both shoulders. One of its corners moreover conceals the upper
part of the 1. arm, the other the r. breast and the body, and then
hangs down over the advanced 1. forearm. In the 1. arm the goddess
holds a cornucopia full of fruit encircled by a knotted fillet of wool
{<jT€iJ.ixa, vitta) and by a snake. New : head, with the lotos-flower,
r. forearm with the vase (probably the goddess originally held a
steering paddle), 1. forearm, half the cornucopia and large portion of
the drapery that falls down at that part, lastly the pedestal with feet
and lowest part of the chiton. All antique parts worked over by
Cavaceppi to such a degree that it is often difficult to recognise the
restorations. H. 0-92. [*C]

43. Bust of Gordianus III., wrongly named "Saloninus."
New: tip of nose and bust. There are replicas in the Louvre
(Mongez, Iconogr. Rom., PI. 54), and in the Vatican {Braccio N.
No. 76, "Alexander Severus"). Purchased by Brettingham. \^E\

Library.

44. Head of Roma. Face of a rounded contour. On the
round helmet, closely fitting to the head, three figures for the most
part restored, the she-wolf on the top, the twin boys on the two sides.
Remains of the original figures are preserved. New: nose, also
the bust of Rosso antico. Fine-grained marble. H. of genuine
part 0-42. L. of face 0-14. [-'CJ

45. Mosaic. In the midst of rocky scenery, a lion, viewed
almost from the front, is rending a panther lying on the ground.
Composition effective ; drawing not quite correspondingly good :
colouring and technical execution very praiseworthy. Bought by
Mr Coke in Rome. L. cSS. H. about the same. [* W\

State Bed-Chamber.

[46. Bas Relief of Julius Caesar : oval shape. From Dr
Meade's collection. Mus. Aleadiamcm, p. 225. Unquestionably
modem.]

The following rooms on the ground floor are decorated with
antiques.

HOI.KIIAM IIAI.I, 47 — 50. 317

Milliard Room.

47. Terminal bust of the bearded Dionysos : called
" Plato." Of pseudo-archaic style. Three rows of round curls extend
over the forehead, long curls fall down on to the shoulders ; behind
the hair forms a broad mass. The broad beard projects decidedly.
New : tip of nose. Ordinary work. It was dug up in a vineyard
near the Church of St John Lateran, and purchased at Rome by
Brettingham. H. 0-45. L. of face o'lS. [*CIV]

48. Portrait-head of Lysias : on a modern terminal pillar with
the inscription AY2IA2 (w). The identification, however, is correct
The head resembles the Farnese (Visconti, Iconogr. Grecqiee, I. PI.
28), only it is less bald, corresponding in this particular more with
the Capitoline bust {Mus. Capit., I. PI. 63). The beard hangs down
tolerably straight ; the little wrinkles at the outer corners of the eyes
are plainly rendered. New : tip of the decidedly arched nose, a
piece of the 1. ear. The surface generally speaking is much washed
out. Greek marble. Purchased by Brettingham. H. of genuine
part, 0-35. L. efface, 0-21. \*BCW'\

49. Square cinerary urn : with the inscription Z>. M. \
Fdronio Hedychro \ vix{it) ati(nis) XXXV m(pis). VI d{ieb). VIII \
Peiroiiia Tpophime [sic] | conliberio, idem \ coningi suo b{ene) m{erc?i(i)
fecijf). At the comers richly constructed candelabra; on their
bases rams' heads, and between them a trident with two dol-
phins ; further up a sphinx ; quite at the top a lamp. Under the
tablet for the inscription two stags' heads sustain a garland in the
curved space enclosed by which the she-wolf and only one sucking
boy are represented. Beneath, tivo birds of prey. On the sides a
griffin on a high pedestal. Bought together with no. 50 for 15
Roman crowns by Kent in Rome. H. o"59. L. 0*44. D. 0-28.
[*CW"]

50. Square cinerary urn : with the inscription C. Cal-
purnio \ Cognito, \ vix{if) aii{ms) XVIII, \ Calpurnia \ Chrysis \
mater. A Cupid on either side of the tablet for the inscription,
supporting the garland in the curved space enclosed by which a
Cupid sleeping on a rock is represented, with a hound sitting at his
head. Under the garland a winged Cupid on a quadriga drives r.,
carrj'ing off a wingless maiden who extends both arms to heaven. A
snake under the horses. On the extreme r. an olive tree. It is a transfer-
ence of the rape of Proserpine by Pluto (cf Brocklesby, no. 1 10) to an-
other combination of figures (cf O. Jahn, Archaeol. Beitr., pp. 194 ft".);

3l8 HOLKHAM HALL 5 I — 53.

a similar example is to be seen in the Galcria Giustiniatii, ii. PI. i47-
On the sides the garland is upheld by a Cupid at the front corner,
and behind by a ram's head under which a swan is visible ; inside
the garland a hydria on one side, a cup on the other. For the source
cf. on no. 49. H. 0-63. L. 0-44. D. 0-33. [*C/F]

The setting-in of darkness prevented me from making a more
accurate examination of the following nos., 51 — 54.

Vestibule under the Portico.

51. " Medallion of Carneades. The hair and face antique
of Grecian work; the other parts restored by Cavaceppi." Brettingham.
In my opinion the antique portion comprising the chief part of the
head is of good work and of Pentelic marble, also the nomenclature
correct. [*]

Audit Room.

52. " Medallion of a Faun (antique), dancing as if inspired
by the god Bacchus: he holds the lituus \i.e. the pedum] in one
hand, and in the other a bunch of grapes ; upon the background is a
vase. It is in basso-relievo." Brettingham. Unquestionably a
disc of marble. It is perhaps the " basso-rehevo " mentioned under
no. 13, or, as the servant writes on another occasion, the "bust
releif "

Porter's Hall (Guard Room).

53. " Busto called by the name of Lucius Lentulus."
Brettingham. Noticed in the Book of Accounts as " Ritratto of
Lucio Lentulo, a colossaean head," which the servant turns into a
"Colossaeum Busto of L. Lentulo." The Rev. Alex. Napier of
Holkham has the merit of having solved the riddle of this curious
nomenclature, by discovering the Holkham head to be identical with
the bust published by Th. Gallaeus {lUustrium imaghies, Antw. 1606,
PL 48) as " L. Cornelius Lentulus," then in possession of Fulvius
Ursinus, and by E. O. Visconti (Iconogr. Rom. i., PI. 4, 6). To say
nothing of the likeness of the features, the identity is estabUshed by
the fact, that in the said bust, according to Ursinus (see below, cf.
Faber in his notes to Gallaeus), a ring of metal was fastened at the
back of the neck, and that the Holkham bust shows at the very junc-
tion of the head and the neck a groove 0-25 long, evidently the hole
into which the ring had once been let in. The bust seems to have

TIOLKHAM HAI.r, 53. 319

been discovered in the i6th century in Tivoli, together with an
inscribed bronze tablet (C. /. Lat., i. 201). The inscription
contains a letter of L. Cornelius Cn. f. pr(aetor), in which he in-
forms the inhabitants of TivoU that the Roman Senate had accepted
their justification, and expresses the hope that the Roman People
will do the same. Judging from the palaeographical character, the
inscription belongs to the 7th century of the city of Rome. Faber
referred it to L. Cornelius Cn. f. Lentulus Lupus, afterwards consul
in B.C. 156; Visconti was rather inclined to seek the reasons of the
quarrel between Rome and Tivoli in the disturbances of the social
war, B.C. 90 or 89 ; Mommsen recalls the movement caused by
Scrtorius, during which, B.C. 78, a certain L. Cornelius ... f. Sisenna
was prador lerbanus et inter peregrinos (C. /. Lat., i. 203, i). But,
as Visconti has already observed, it is questionable whether we are
right to give to the bust the name mentioned in the inscription ; only
a very exact account of the circumstances of the discovery would
enable us to judge this point with certainty. I am indebted to the
kindness of Dr H. Dessau, who is preparing the edition of the in-
scriptions of Latium for the Corpus Inscriptionum Laiinancm, for the
following notices taken from sources partly unedited. The first
mention occurs in the voluminous collectanea of Pirro Ligorio pre-
served in the R. Library at Turin (composed between a.d. 1566
and 1587), a copy of which exists in the Vatican Library (Cod.
Ottobon. 3376, fol. 42) : " ...f ragmen to di una Tabola di Bronzo tro-
uata in Teibur propria con la testa di quel Lucio Cornelio Pretore di
Marmo," &c. A somewhat more detailed account is given in the
work of Antonio del Re, DelP antichitcl Tiburtine capitolo V., Rome,
1611, p. 108: "...d'vno di loro [of the Scipios] /«} trouata vna testa
di 7narmo, con la tauola di bronzo, nella quale era intagliato detto
Senatoconsiilto, in alcune rouinc di muri antichi fatti ad opera retico-
lata, cauandosi vna cantitta non lunge dalla Cliiesa di S. Lorenzo,
vicino al luogo detto la Forma" (or "le For?ne," cf. Cabral and del Rb,
Belle ville, &c. di Tivoli, Rome 1779, p. 34). Other antiquaries pre-
ferred to see in the head not one of the Scipios, but a praetor Tibur-
tinus called L. Lentulus. From these accounts it does not appear
likely that the head should have been found at its original place ;
nor does the opus reticolatuni, the network used in the 8th century of
Rome, agree well with the epoch of the inscription. It is, in con-
sequence, very doubtful whether the head has any connection
with the inscription, and more particularly, whether it was meant
to represent the praetor L. Cornelius who sent the Senatuscon-

320 HOI.KHAM HALL 54, 55.

sultum to the people of Tivoli. These doubts will be the more
strengthened if Mr Napier is right in identifying the countenance of
the Holkham bust with that of another terminal bust, published by
Lafr^rie, Inlustr. virorum vultus, Rome 1569, PI. 34, which is now in
Florence (probably Uffizi, no. 319, or no. 543 of Duetschke's cata-
logue). Be this as it may, the bronze tablet, apparently together with
the marble bust, was sold by the discoverer for 25 scudi to Curzio
Alessio, canon of St John in Lateran, and by this man for 100 scudi
to Fulvius Ursinus (Ant. del Rfe, in Cod. Barberin. Liii, 53), in whose
possession it was when Gallaeus made his drawing. Ursinus thought
so highly of these two pieces that in his will (Jan. 21, 1600) he be-
queathed " senatui populoque Romano caput marmoreiim L. Cor7ielii
Praetoris,cui a tergo pendet anuliis acreus, Jidem faciens appensum olivi
ftiisse in aliquo publico loco ciuitalis Tiburiinae, cum aenea iabella...,
cupiens earn in Capitolio reponi cum supradicto capite marmoreo eo
potissimum loco, quo Bruti caput aeneum hodic servatur." (Castalio,
Vita Ful. Ursini, Rome 1657, p. 24.) It appears, however, that
this bequest came to no effect ; at least Ant. del Re (/. «A) was told
of the inscription having passed into the possession of Ursinus'
protector, the Cardinal Farnese ; and, in point of fact, in the i8th
century it was in the Barberini collection (see Ficoroni, Le vestigia di
Roma, Rome 1744, 11. p. 54; Visconti, /. c); since that time it has
been utterly lost sight of About the fate of the bust nothing certain
can be said except that, according to the book of accounts at
Holkham, more than a century after the death of Ursinus the archi-
tect Kent bought it in Rome for Mr Coke for a sum of 25 crowns. [*]

54. " A fine antique consular bust on a pedestal, both of
one piece of marble ; incognito." Brettingham.

Conservatory.

Here there stands, in a most unfavourable situation, hidden
behind a broad palm tree, the colossal statue (no. 55), for which
Kent had designed the place of honour over the staircase of the
Hall (see Walpole, Anecd. of Painting, iv. p. no).

55. Statue of "Zeus," colossal scale. Clarac, iii. 396 D,
678 B. Bought by Mr Coke in Rome together with no. 22 for
418 Roman crowns, and restored by Wilton. As the neck, in-
cluding the hollow of the throat, is an insertion, and the head is of
different marble from that of the rest of the statue, they must both be
treated separately. The splendid body, of Greek (Pentelic ?) marble

HOLKIIAM HALL.

321

of inferior quality, has been accommodated to the character of Zeus by
the following restorations. New : r. arm including a piece of shoulder,
with sceptre, 1. hand from the drapery with the cup : also part of the
much broken lower parts of legs, feet, lowest piece of palm, and
parts of the drapery depending therefrom. There is left the torso of
a ijowerful man resting on r. leg, quite nude towards the upper part,
draped round hips and thighs with a broad cloak m rich folds, one
end of which falls down over the advanced 1. arm ; near r. leg a
palm tree with dates, serving as a support. Though there are
statues of Zeus of similar design (cf. Overbeck, Griech. Kimstmy-
tliologie, II. pp. 140 ff.), yet a palm tree for a support for a Zeus is
unheard 5f It seems to me therefore reasonable to suppose that our
torso once belonged to a statue of a Caesar in the habit of Zeus (cf.
ibidem, p. 574).

It is otherwise with the head, of the finest Pentelic marble,
worked far more exquisitely than the body, and in fact of rare
beauty. New : only part of the tip of nose. Hair not massed over
the brow, but parted and brushed sideways at first almost flat in soft
curly waves, further down it falls smoother, on the neck short. The
whole back of the head is negligently treated. Lower half of brow
projects somewhat. Eyes, of a very beautiful oval, do not, however,
lie deep. The fine, long nose comes out a little from the line of the
profile of the brow. Small mouth a little open, cheeks somewhat
dissimilar, the 1. being a little too flat. Beard tolerably long. In
style I might especially compare the beautiful head to the fragment
in the Louvre (Bouillon, Mus. des Aut. i., PI. i), yet it is more soft
in execution. It would seem to belong to the younger Attic school,
standing midway between the sublime simplicity of the Zeus of
Pheidias on the frieze of the Parthenon and on coins of Elis, and
the effective display of refined art in the Blacas head in the British
Museum, the Mask of Otricoli, and other representations of Zeus and
kindred divinities by the school of Lysippos. The extremely mild
expression of the features, which forms the chief trait in the character,
joined with the short hair on the neck, makes Waagen's and Matz's
identification as an Asklepios probable ; yet one cannot as yet with
certainty distinguish between this god and a mild Zeus (Zevs ^irios),
considering the difference of the schools of art. The head highly
deserves to have a cast made from it. Dallaway, no. 14. H. 2-23.
\*£CMIV]

322 HOLKHAM HALL 58— 6l.

In the Park, in another greenhouse are 56, 57. Two busts:
modern. One, no. 57, with the pretended features of Maecenas
borrowed from a gem (Visconti, Iconogr. Rom., i. PI. 13) ; besides
these on the

Seat on the Mount

58. Sarcophagus: oval shaped, fluted, with the inscription
D{is) Mianibus) T. Flabio Hermae Ti. coiiigi. [M]

Two more heads may here be mentioned which are temporarily
(1877) in the vestibule of Lord Leicester's town house, 19 Grosvenor
Square, but which belong to the Holkham Marbles.

59. Head of the youthful Apollo. Thick, wavy hair parted
over the brow, and falling back in a thick bunch. It is encircled
with a fillet. The fine features remind one slightly of an archaic
model. One can recall the Apollo shooting with the bow in bronze
from Pompei (Miiller, Denkm. d. alt. Kuiist, 11. PI. 11, 125).
Lips shut close ; eyes flat. New : a small piece of the tip of the
nose, neck and bust. Parian marble (lychnites) of unusual trans-
parency. Work not quite as good as the material. H. of head 0-21.
L. efface 0-15. [*]

60. Portrait-head of a Roman girl. Hair slightly waved,
at the back tied up into a flat coil of tresses. Features somewhat
blunt and stiff, mouth thick ; nose a little cocked up ; eyes (pupils
expressed) looking upwards. Expression earnest, almost sad. Hair
superficially treated. New : tip of nose, and the whole bust except
a piece of the neck. Italian marble. H. 0-25. L. of face 0-17. [*]

Beside its marble originals Holkham possesses, amongst the
valuable manuscripts and rare books in which the library is so rich,
a special treasure, namely some volumes of drawings from antiques,
which Mr Coke purchased in Italy.

61. A small volume of drawings by Rafael : small folio.
Formerly in the possession of Carlo Maratta in Rome, bought there
by Mr Coke, Aug. 29, 1716: "Paid for a book of the drawings of
Rafael 50 Rom. crowns." The sketches are really for the most part
drawn by Rafael, especially architectural details, which may pertain
to the studies of the antiquities of Rome in the artist's later years.
A particular account of the contents is given by Passavant, Rafael
von Urhino, 11. pp. 586 ff., cf ^UU.,Arch. Zdtung, 1873, p. 35. '[♦j^]

IIOLKIIAM IIAI.L 62. HOUGHTON HALL. 323

62. Two volumes of drawings by both the Bartolis,

the father Pietro Saiite, the son Francesco. Tlie latter is often men-
tioned in the Book of Accounts, Mr Coke having employed him on
drawings after antiques. E.g. "1716, Aug. 4. Paid to signer
Eartoli for an Antique Painting of the Volta of a temple of Bacchus
20 cr." "Aug. 31. Paid to signor Bartli for Antick painting and for
the uolte of the uel. palace di Tito 30 cr. i p. 5 bai." Bartoli's
name also occurs in reference to other services : " 1717, March 17.
Paid to Signor Bartoli for seueralc Licences two send awais pictures
and statues 7 cr. 2 p." Lastly there is mentioned in a brief notice
without Bartoli's name, " Book of antique paintings 60 old Louis."
Evidently by this " book " are indicated the two volumes in question.
Unfortunately the drawings, for the most part very delicately coloured,
have been bound up in no order into two magnificent volumes, large
folio, of which one contains 77, the other 65 leaves. They are most
of them original sketches for Pietro Same Bartoli's Pitture ajitiche
del sepolcro de' Nasonii (Rome, 1680), and Fitttirc antkhc delle grotte
di Roma, by Bartoli father and son (Rome, 1706), but a con-
siderable number of antiques from other quarters are mixed up with
them, such as drawings for the Antkhi Sepolcri, the Vatican Virgil,
the Admiranda, &c. On Vol. 11., PI. 29, " Fran[ces]co Barto[li] " is
named as the artist. A series of leaves contains the light original
sketches in outline, the instructions for the colours only appended in
words ; these are copied on the other leaves, and filled in with
simple, unbroken colours. Cf Matz, Gottinger Naclirichten, 1872,
pp. 68 f , and Arch. Zeitung, 1873, p. 35. His conjecture that the
Holkham drawings are derived from the legacy left by Dr Mead is
confuted by the Book of Accounts (cf Introd. § 29, and Windsor
Casde, Vol. xix). Unfortunately my time at Holkham did not allow
me to make a detailed inventory of the single drawings ; it may be
hoped that Mr Napier one day will publish a list of them and of the
places in which each of them, respectively, has been published.
[*M]

HOUGHTON HALL (Norfolk).

Acdes Walpolimiae, or a description of the collection of pictures at
Houghton Hall, 1747, 1752. (Horatio Walpole, Works, 11. pp. 221 —
278.) Dallaway, pp. 271, 291 f, 384 (11. pp. 3 f, 27 f, 136).

This country seat of the Marquis of Cholmondelev, situated

21 — 2

324 HOUGHTON HALL I — 16. HOVINGIIAM I — 3.

near Fakenham (Gt. Eastern Ry., between Wymondham and Wells)
was adorned with a number of busts by Sir Robert Walpole, after-
wards Earl of Orford, most of which the younger Brettingham (cf.
Holkham) had collected for him in Italy (Introd. § 41). Horatio
Walpole (/. c, pp. 264 f ) gives the following list of the busts.

The Hall.

1. A woman, a most beautiful antique, and

2. Roman Empress ; brought from Mrs Vernon's at Twicken-
ham Park.

3. Marcus Aurelius.

4. Trajan.

5. Septimius Severus, and

6. Commodus ; given to General Churchill by Cardinal Alex-
ander Albani, and by him to Sir Robert Walpole.

7. A young Hercules.

8. Faustina Senior.

9. A young Commodus.

10. Jupiter.

11. A Philosopher.

12. Hadrian.

13. Pollux.

The Porch.

14. Philosopher.

15. Julia Pia Severi.
Dallaway adds —

16. A small bust of Venus.

HOVINGHAM (Yorkshire).

Volkmann {Reiscn, iv. p. 121) mentioned as being at this
country seat then belonging to Mr Worslev — •

1. "An antique bas-relief of Bacchantes," perhaps a Bacchic
relief from a sarcophagus.

The two following groups in bronze are hardly antique —

2. Herakles and Antaeos.

3. Herakles and the stag.

CASTLE HOWARD I— 3. 325

CASTLE HOWARD (Yorkshire).

Volkmann, Reisen, iv. pp. 122 flf. Dallaway, pp. 295 ff. (ir. pp.
31 ff.). Waagen, Treas., 111. pp. 326 ff. (11. pp. 420 ff.). Clarac, in.
p. 115 (Clarac was not there himself). Conze, Arc/i. Anz., 1864,
pp. 216 ff.

On the railway from York to Scarborough (North-Eastem) there
lie 3, somewhat out of the way, between wooded hills, the seat of
the Earl of Carlisle, whose antiques had been collected so early as
the first decades of the last century by Henry Howard, 4th Earl of
Carlisle (1694 — 1758), a zealous and tasteful dilettante, who lived
much in Rome (Introd. § 35). The collection is the oldest in
England after those in Oxford, and at Wilton House. The number
of its specimens seems to be in excess of its richness in notable
antiques. A few additions have been made recently. I do not know
whether a fire, which some years ago took place at the castle, has
injured the antiques. Of the statues Dallaway only names no. 7 ;
Clarac has had drawings made of 16 specimens; Volkmann has
already given a very full description. I was unfortunately prevented
from visiting this collection, and therefore find myself merely citing
the notices of the above-quoted authorities. As Clarac did not him-
self visit Castle Howard, he gives no remarks on restorations.

1. Statue of a female. Clarac, in. 438 A, 774 A ("Ceres").
She rests on her 1. foot ; over the girdled chiton, a cloak covering both
legs, the end of which is thrown over the 1. forearm. The head
crowned with laurel has been added to the statue. New : neck, more
than half the r. arm, nude part of 1., and the attributes of Ceres,
torch and ears of com, in the two hands, 1. breast and legs from
above the knee. H. i'35.

2. Statue of a female. Clarac, iii. 438 A, 774 B ("Ceres"),
according to Waagen an empress as Ceres. Draped much like no.
I, resting on the r. leg. The statue in the pose of the arms pre-
sents the usual motive of Pictas {Afus. Pio-Ckm., 11. PI. 47); the
antique portrait head does not belong to it. New : half of both fore-
arms, so also the ears of wheat in the r. hand. Of little importance.
H. I75. VV\

3. Statue of Fortuna. Clarac, in. 438 B, 823 B (" Abun-
dantia"). Upon a chair, to the r. side of which a cornucopia is repre-
sented, the goddess sits in a chiton, which leaves both arms perfectly
free ; legs covered in a cloak. Head (with a stephane), of which the

326 CASTLE HOWARD 4—8.

fine features, according to Waagen, have much the character of a
Venus, re-joined, but according to Clarac's letter-press, belonging to
the statue. New: nose, neck, half 1. forearm with cup, half r.
hand with cluster of grapes, on which it rests, and also some patches
here and there. Well-designed figure of ordinary execution. H.
173. [CJV]

4. Statue of Athene. Clarac, in. 462 B, 888 C. The god-
dess rests on her 1. leg ; the prettily-arranged cloak is thrown around
body and thigh, and also round the 1. arm, which is supported on the
side ; a narrow aegis covers a portion of the breast. There are several
copies in existence, e.g. Ince, no. 10, Oxford, no. 20, in the Villa Pamfili
(Clarac, iv. 552 B, 1186 D), also one once at Cavaceppi's {Race, i.
PI. 18; Clarac, iii. 471, 900), which was bought and sent to
England, but is hardly identical with our statue, rather with that in
the Ince collection. New : head, r. arm, 1. foot and part of r. The
rest well preserved, and of good, simple work. H. 1-52. [CIV]

5. Statue of Hygieia. Clarac, iv. 552, 11 72 A. Standing
in repose in chiton and wide cloak. R. arm, entwined by snake,
approaches a cup held in the 1. hand. New : snake from the hand.
Head does not belong to the statue ; it has the features of Julia
Mammaea. A good work with delicate drapery. H. i-6o. [fF]

6. Statue of a boy, probably Eros. Clarac, iv. 650 A,
1467 A. He rests on the r. leg, 1. shoulder much raised, r. corre-
spondingly lowered, head thrown back. The quiver-strap over the
breast has given occasion for the pleasing restoration, as though he
had shot an arrow, and is looking after it. New : arms, lower parts
of legs, trunk of tree and pedestal ; whether the head also is new is
not to be made out in the present position of the statue. H.
0-66. [C]

7. Statue of Eros, fastening the string to his bow.
Clarac, iv. 650 C, 147 1 B. Dallaway, no. i. A good torso of the
favourite figure, restored with a head that does not belong to it.
New : nose, neck, both arms with the bow, lower parts of both legs.
H. 1-22. [CW]

8. Statue of Dionysos. Clarac, iv. 678 B, 1619 C. The
god leans with 1. arm on the trunk of a tree, entwined with a vine.
Head, crowned with ivy, turned with a gentle inflection toward the r.,
on which side he pours out with lowered r. hand the contents of a
kantharos on a panther sitting at his feet. A nebris drawn over the
breast ; feet encased in high boots. Much pieced together. New :
panther's head. H. 1-55. [C]

CASTI.K HOWARD 9 — 20. 327

9. Group of boy riding on a goat (Bacchus?) Clarac, iv.
694 A, 1610 B, "Bacchus enfant sur un bouc." Dallaway, p. 298.
The boy wears a garland slantwise across his breast and tries to
drive the animal on with a stick in his r. hand. According to Waagen,
the group is beautiful and spirited in motive, of good style and
vigorous character; according to Conze of inferior work. New: of
the boy, head, 1. arm which holds the goat's horn, 1. and half of r.
foot; of the goat, legs, ears, horns. H. 0-92. [CJF]

[10. Small statue of sleeping Seilenos. Clarac, iv. 738,
1762 A. Serves as cover of the sarcophagus, no. 48. Modern, see
Dallaway, p. 298, confirmed by Conze.]

11. Bearded river-god. Clarac, iv. 749, 1821 B. He sits
on the ground, supported on 1. hand, a shell in r. Bluish grey stone.
The composition of the figure itself as well as the form of the plinth
arouse strong suspicion against its genuineness.

12. Statue of Serapis. Clarac, iv. 758, 18516. Probably
wrongly described by Waagen, p. 329, as a bust. Usual motive.
Insignificant e.xecution. The two side heads of the Kerberos are
small in proportion and turn backwards. New: of the Serapis, head,
1. arm, with upper half of sceptre, r. forearm and hand, half of 1. foot;
of the Kerberos pieces of the head and r. foreleg. H. I'oo. [C]

13. Statue of a youthful Roman in the toga. Clarac, v.
904, 2313 A. New: both forearms and the wrongly restored portion
from the ankles downwards. H. i-47.

14. Augustus. Clarac, v. 913, 2331. The Emperor is repre-
sented in Greek style, nude but for the chlamys, which is fastened
together on r. shoulder and leaves the whole r. side and r. arm free.
Head admirable, other parts much repaired. H. 175. [PV]

15. Statuette of a nude youth, Clarac, v. 927, 2354 B.
(Probably the figure described by Waagen, p. 328, as Apollo, with
many repairs.) Leaning 1. on the trunk of a tree. Hair curly.
Certainly not a portrait-figure. Modern ? H. 0-64.

i5. Statue of "Marcus Aurelius." Clarac, v. 952, 2445
B. Beardless, youthful. Nude, but for the chlamys which covers
the breast and partly the 1. arm. Of good workmanship. New : r.
leg, r. arm with staff, 1. hand with globe, probably head also, lastly the
inscription AVR. CAES. on the pedestal. H. i-6o. [CIF]

17. Statuette of Athene. Yellow stone (oriental alabaster ?).
Black extremities. Probably modem. [C]

18. Elder Pan attacking a younger. Perhaps antique. [C]

19. 20. Two groups of a lion tearing a bull : spirited

328 CASTLE HOWARD 21 — 29.

design, indifferent workmanship. Many parts restored. About one-
fourth the size of life. [CW]

The number of busts is extraordinarily large, and includes many
Roman portraits, but also many modern specimens. The identifica-
tion of the descriptions of the different authorities is not always to be
managed with certainty.

21. Bust of Minerva or Rome. Dallaway, no. 12. Wrongly
described as a statue by Waagen, p. 297. New: face. Helmet
ornamented with figures on horseback, Amazons according to
Dallaway, horsemen according to Waagen. [ IV]

22. Large mask of bearded Bacchus. Dallaway, no. 13.

23. Bust of Bacchus : crowned with grapes and ivy-berries.
Of the type of the Capitoline head ("Ariadne"). Dallaway, no. 8.
New: nose. Very noble. Admirably executed. [CJV]

24. Head with Phrygian cap. Inclined 1. Slightly pained
expression. Hair luxuriant. Dallaway, no. 9, " Atis." Waagen,
p. 331, "Paris." New: nose, mouth, chin: much patched on cap
and hair. Good head. [CJVI

25. Head of lo. Life-size. Meant to be let into a statue.
Out of the waving hair, on which a stephane is visible, spring two
little horns over the forehead. Well preserved. Character and work
unimportant. [C ; undoubtedly identical with Waagen's "Attes or
Atys," p. 328.]

26. Female head, small scale. Graceful, of delicate, hieratic
style. Openings of eyes quite narrow. Traces of red colour visible
on hair, which falls in regular curls over the forehead, in broader,
flatter masses on the ears, then down behind the neck. A strange
kind of helmet covers the head. It is surrounded by an ornamental
wreath of flowers on the lower rim, shows remains of decoration
above and behind (an animal above), and is furnished behind with a
guard for the neck. New : breast-piece of oriental alabaster. Conze
compares a head at St Petersburg, probably Ermitage, no. 182.
H. o"i3. [CIV; apparently identical with Dallaway's no. 14,
" Isis."]

27. Youthful Herakles. Of unusual beauty. New : nose,
piece of chin, r. ear, breast and neck. Parian marble. [CJV]

28. "Silenus" (Dallaway, no. u): rather some ancient
poet according to Waagen. Long beard. Head crowned with vine-
leaves and ivy-berries. New : nose. Spirited, excellent work. [ IV]

29. Dioskuros. New: nose. Dallaway, no. 10.

CASTI.E HOWARD 3O — 45. 329

30. "Junius Brutus." Larger than life. Of decided cha-
racter. Beard merely indicated by scratches on the marble. New :
one ear entirely, the other half. Dallaway, no. 15. [^^]

31. Scipio Africanus Major. New : nose. Good workman-
ship. [;r]

32. " Cicero." New : nose. Otherwise of very good work-
manship. [ /F]

33. Bust of Agrippina. Hair disposed in rows of detached
curls. New: bust. Dallaway, no. 7.

34. Otho. Larger than life. Beard only indicated by
scratches. [ IT]

35. Domitian. Larger than life. Of good workmanship, but
much broken and restored. [ IF]

36. Hadrian. New: nose. Very well executed. [JV]

37. Bust of Antoninus Pius. Dallaway, no. 5. New:
r. shoulder and nose. Very well executed. [ IV]

38. Bust of Commodus, when young. Dallaway, no. 6.
Very well executed and admirably preserved, drapery polished. [ JF]

39. Septimius Severus. The same. [ IV]

40. Geta. Hair treated in the manner of a bronze. Work-
manship and preservation the same. [ IV]

41. Baldheaded man. New : nose. Very good workman-
ship. [ JV]

The end of a gallery is adorned with two rows of ancient and
modem busts. The following are perhaps among these.

42. Boy : unknown. Hair minutely picked out. New : bust.
Dallaway, no. 2.

43. Man. Hair, beard and fringe of drapery remaining
fresh from the tool, face and drapery highly finished. Antique?
Dallaway, no. 3.

44. " Domitius Ahenobarbus": the same. Dallaway, no. 4.
'I'he reliefs are far fewer in number.

45. Nike. Smacks of the hieratic style. Antique: upper
part of body to about middle of thighs, with greater part of wings, r.
arm inclusive of hand and fillet, and 1. arm as far as the wTist. A
fillet of peculiar shape is thrown around the waving hair which falls
down in plaits. Leaving the wings out of account the figure
corresponds with tolerable accuracy in drapery, pose, treatment and
even in the movement of the hands to the priestess decorating
the tripod on the three-sided pedestal in Dresden (no. 106. August-
cum, PI. 7. MiUin, Gal. myth., PI. 16, 56. Arch. Zeii., 1858,

330 CASTLE HOWARD 46—50.

PI. Ill, 3), which is also repeated on a relief in the Louvre
(Botticher, Grab. d. Dionysos, Berlin, 1858, fig. 2). Perhaps on our
relief too a tripod should be restored instead of the modern tropaeon.
It would be dedicated by the goddess of Victory as a symbol of a
victory won in some games in honour of Dionysos or of Apollo.

46. Fragment, Bacchante and youth. Similar style to
no. 45, but higher relief. Old: only upper parts of both figures.
The full-draped Maenad stands 1., the long thyrsos resting on 1.
shoulder and r. hand advanced with fingers spread out. Opposite
her, r., a youth nude but for a small shawl, with hair tied up (k/dm-
jiv\o%) on his neck, 1. hand lowered, in raised r. a (modern) cup
being lifted to the mouth. Space between the two figures rubbed.
Girl's 1. hand belongs to the modern lower piece. Delicate work.
H. about 075. [C/F]

47. Sepulchral relief. Youth by a horse; an attendant near
him ; on the other side a tree entwined by a snake. Poor work. [C]

48. Child's sarcophagus, oval shape ; with four lions' heads
as apotropaea, which have each a ring in its mouth. Bacchic
procession executed by children. Front side : Dionysos relatively
grown up, like a youth, supported by a boy, follows a young
girl who is striking the tympanon. L. end. Five figures. Near
a basket, from which the head of a snake seems to protrude, a
Satyr boy with pointed ears, with pedum, moves 1. ; before him a
young girl with tympanon; touching her a bearded Pan, whom a
Centaur playing the lyre faces; finally a young girl playing the
double flute. Back : three children treading grapes. R. end :
quite r. a tree, then a boy with pointed ears, with pedum ; a boy
with a lyre and one blowing a German flute (TrXaytos avXo's), faced
on 1. side by a female Centaur playing the double flute. (With
regard to the lid cf. no. 10.) \CW\

49. Relief representing a ploughman : small size. Old :
only the lower piece, part of stem of a tree, both oxen except the
horns, part of plough, a suggestion of the loosened earth, the lower
parts of the ploughman's legs with long drapery. (Cf. O. Jahn, Arch.
Zcit., 1861, pp. 145 ff"., and Ince, no. 293). [C]

Of the large number of cineraria, urns, cippi, (S:c. the following
may be specially noticed.

50. Cippus of P. Aelius Aug. lib. Taurus : with a fine ox
(taurus) on it. Cf the tombstone of T. Statilius Aper with the boar

CASTLIC lIOWAKi) 5 I — 63. 33I

((?/(•/•), Mits. Capit., IV. ri. 9, and the bank dedicated by AT. Nigidius
Vaccula, ornamented with cow heads and cow feet, AIus. Borbon.,

11. PL 54. [c;f]

51. Double urn of M. Vigellius Logus and Vigellia
Jucunda, and also Vigellia Anthusa, tiie inscriptions on two
tablets on the front. Between these and on each of the front corners
a head with Satyr's ears and ram's horns like a head of Ammon, (see
Jahn, Laiiersforter F/ialerae, Bonn, r86o, pp. 10 f.), connected by
garlands, in the field enclosed by which, below the inscriptions, are
representations of — 1. fight of a bird with a snake, — r. two birds
pecking a locust (cf Michaelis, Arch. Zeit., 1866, pp. 142 f ). Below
at each of the corners a double sphinx with only one head (Jahn, /. c.
p. 9). [C]

52. Round cinerarium in the shape of a box. Moses,
Collectio7i of Antique Vases, &c., PL 121. In front, below, a low
candelabrum, a Cupid on either side whose legs run into vine-shoots
which rise high on both sides. On the tablet the inscription: D(is)
Jif(anil>us) | P. Miirrio \ Epigono \ Afurria Procula \f(ilia) et Abas-
cantiis I et Amianthus \ patrono b{cne) m(eretiti) J[eceru)it).

53. Round pedestal of a tripod : with three holes on the
top-surface. Front half polished ; rest rough. Simple mouldings.
Brought by Nelson from Delphi. H. o'gS. Diameter 074. [CJ-V]

Of the numerous small bronzes the following are worthy of
mention.

54' 55' 5^- Jupiter, Victory, Telesphoros. [IV]

57. Hercules. Very delicate. H. o'o6. [I^]

58. Etruscan warrior. Of the well-known slender type.
Dallaway, no. 18, "Mars." [JV]

59. Venus- Estimable. H. about 0-20. [ JV]

60. Fury, sleeping with a serpent in each hand, as well as
serjients and wings in her hair. Features expressive of sorrow ;
design very noble, workmanship good but not delicate. The rock
restored in wood. Dallaway, no. 17, "Nemesis or Medusa." Is
the figure undoubtedly antique ? H. about 0T3. [/F]

61. Archaic figure of a nude man, stepping forward with
1. leg : both lowered arms somewhat bent. Apparently with cap
on head. ADioskuros? [C]

62. 63. Two figures of Minerva and Hercules ; of bar-
baric roughness. Former in full armature, latter found in Naworth
Castle, Cumberland. [C]

332 CASTLE HOWARD 64 — 6"].

There are also two Mosaics, according to Waagen pretty, but
repaired in many places :

64. Pan. Sitting with a wine-skin in r. hand, and letting the
jet from a drinking-horn held in 1. flow into his mouth. On a leafless
tree hangs a cup. At the bottom, two male masks, one on a krater
against which a tympanon leans. Dull colours. [C]

65. Aphrodite or Galateia : with red drapery floating in the
form of an arch, driving in a chariot drawn by dolphins. R. a Triton
blowing a shell, 1. a female Triton with a branch of coral. [C]

Among the seventeen painted vases (Waagen, p. 327) only one
seems to be important.

66. Krater of Python {Yl-iQwv lypa^e). Ajin. de riiistitiit
ArcMol., scd.fran^., PI. 10. Vol. i., pp. 487 ff. PI. B. (J. Millingen).
The vase is as noteworthy for the variety of the colours as for the sub-
ject On a high funeral pyre, which " Amphitryon " and " Antenor"
are trying to ignite with two torches each, sits "Alkmene," r. arm
advanced in entreaty to "Zeus," who is above, 1., with half his body
visible, and seems to be giving an order with his 1. hand. He has
hurled down two thunderbolts by Antenor and Amphitryon. Two
goddesses of rain, in gray draperies spotted with white, pour down
water from amphoras on the pyre and Alkmenb, who is surrounded
by rain Hke flakes of snow. A rainbow of divers colours forms an
arch over her. Above in the r. corner " Aos," with a mirror in her
r. hand, is looking on. The inscriptions containing the names of the
figures are scratched on the surface. Back : Dionysos between two
Maenads. Over him Pan and two Satyrs with only the upper parts
of the bodies visible. H. about 0-55. Probably of Lucanian origin;
formerly in Naples in the royal collection (Hirt, Gcsch. d. Kiinste,
p. 264, Bilderbuch, p. 21) or in the royal manufactory of porcelain
(Matthison in the Morgenblatt, 181 r, p. 651. Welcker, Alte Denkm.,
in. p. 300), then brought by the artist Mr Tresham from Italy to
England. \_CW\

Lastly the collection contains a considerable quantity of various
antique articles such as metallic mirrors, sistra, bronze and
terra-cotta lamps as well as a fine collection of gems. [ W~\

Among the lamps I may mention

67. Pegasos flying up : his bridle held by a youth who is
running by him in lively movement, with an animal's skin over 1.
arm. Large lamp. [C]

THE IIVDK. INCE BLUNDELE HAI.L. 333

THE HYDE (Essex).

In this country house, the residence of the late John Disney,
Esq., near Ingatestone (Gt. Eastern Ry., not far from Chelmsford),
are still preserved the bronzes, terra-cottas, glass objects,
vases, &c. of his collection, chiefly collected by Thomas Hollis and
Thomas Brand in Italy, while the marbles have been bequeathed to
the Fitzwilliam Museum at Cambridge, with the exception, as it
appears, of a few specimens (see Cambridge, after no. 10 1). Those
small articles are sketched in the Museum £>isneianum, Lond. 1848,
Vol. II. and iii., PI. 59—127; cf. Gerhard, Ank. Anz., 1849,
pp. 55 ff., 125 ff. [Conze, Anh. Anz., 1864, p. 169.]

ICKWORTH (Suffolk).

For the collection, which Frederick Augustus, Fourth Earl
OF Bristol, Bishop of Derry (i 730-1803), had laid the foundation of
in Rome with a view to the adornment of his magnificent mansion at
Ickworth, cf. Introd. § 62. This collection having been dispersed,
only a very few antiques seem to exist at Ickworth. J. Gage {Hist,
and AiUiq. of Suffolk, Thingoe Hundred, Lond. 1838, p. 307)
mentions as being in the dining-room :

1. Bust of Hercules, colossal scale,

2. Bust of Lucius Varus, the same ;
in the library :

3. A frieze of Bacchanalian figures, presumably, if an-
tique at all, a relief from a sarcophagus.

INCE BLUNDELL HALL (Lancashire).

An Account of the Statues, Busts, Bass-relieves, Cinerary Urns,
and other Ancient Marbles, and Paintings, at Ime. Collected by H. B.
Liverpool: printed by McCreery, 1803, 4to. (332 pages). — En-
gravings and Etchings of Sepulchral ATonuments, Cinerary Urns,
Gems, Bronzes, Prints, Greek Inscriptions, Fragments, ^'c. in the Col-
lection of Henry Blundcll, Esq., at Incc, 1809. 2 vols. fol. (158
plates and 3 frontispieces). Dallaway, pp. 357 f. (11. pp. 107 ff. He
only gives 12 numbers.) Spiker, Reise, \. pp. 396 — 403. Clarac,
III. pp. cccxxxvii f Waagen, Trcas., iii. pp. 242 ff. Conze, Arch.

334 INCE BLUNDELL HALL.

Am., 1864, pp. 220 ff., Matz, Arch. Zeit, 1873, pp. 31 ff. Michaelis,
ibid., 1874, pp. 20 ff. I examined a large portion of the collec-
tion in the years 1873 and 1877.

The Railway northward along the coast from Liverpool takes one
to Hightown (9 m.) from which station one gets by road to Ince Blun-
dell, about 3 miles inland. The collection of antiques there appears
to be the largest private collection, unless the former Townley collec-
tion equalled or just surpassed it, which England ever possessed (the
catalogue gives 553 numbers, among which not many are modern),
though it is inferior to others in the number of remarkable specimens.
It is exclusively the work of Henry Blundell (b. 1728, d. 1810).
" Mr Blundell had nearly attained to his grand climacteric, when having
accompanied Mr Townley to Rome, he was ''present when, through
the agency of Jenkins, the marbles of the Villas Mattei and d'Este
were offered for sale. An opportunity so alluring, of becoming pos-
sessed of well-known antique statues, and of a collection, without a
gradual and tedious acquirement, was a temptation not to be resisted
by Mr Blundell." Dallaway, Of Statuary, p. 352. For another
version see Spiker, Reise, i. p. 399. The earliest purchases were
made in the year 1777 (no. 44), among which were also copies of
antiques which our description passes over. The purchases soon
increased prodigiously. The above-mentioned collections of the
Villa Mattei on the Caelian and the Villa d'Este at Tivoli proved
especially productive. Other specimens were furnished by the Palaces
and Villas Altieri, Borioni, Capponi, Lante, Negroni, and by the art
dealers and restorers Albaccini, Boni, Cavaceppi, Ant. d'Este, Gavin
Hamilton, Jenkins, Lisandroni, Pacetti, Nice, la Piccola (keeper
of the Capitoline Museum), Piranesi, Volpato, &c. It was Thorpe
for the most part, a ci-devant Jesuit father, who is said to have been
also actively engaged on Townley's behalf, who advised the purchases
and looked after them in Rome. The majority were accumulated
before the end of the last century, but were even further increased
in England during the next few years. In May 1800, 45 chests of
objects of art were sold by auction at Christie's, which had been
carried off by the French from the Pope's apartments (see on no.
220); and of these Blundell bought 10 specimens. In June of the
same year he purchased 8 at Lord Cawdor's sale; in April 1801 at
that of Lord Bessborough of Roehampton 22 ; in May 1802 at that
of Lord Mendip at Twickenham in his villa, formerly Mr Pope's, 7
specimens (cf besides nos. 50, 64, 140, 141, 144, 228). Even after
the publication of the "Account" (1803) the collection was still

INXK BLUNDELL IIAM,. 335

aujjnicntcd by some few specimens. The marble bust of the owner
at the age of eighty years prepared by Bullock in the year 1804,
a representation of which is the frontispiece to the " Engrav-
ings," gives an idea of the energy by which such a result was
attained.

The fame of the new collection soon drew a multitude of visitors
from the neighbouring town of Liverpool, which was annoying to the
inhabitants of the house. On this account Blundell had a large hall
with a cupola and circular skylight, the "Garden Pantheon," built near
his house for the reception of the choicest specimens. There is an
engraving of it on the title-page of the first volume of the " Engrav-
ings." It was afterwards brought into immediate connection with
the dwelling-house by a passage. Three large, four medium-sized and
eight smaller niches, walls, tables, pedestals and lastly the floor in
this building received the bulk of the antiques, arranged, nowadays
at least, in tolerably motley confusion. The Staircase moreover is
richly adorned with antiques of all sorts, while individual specimens
also stand in the Picture Gallery. A further considerable store-
house is a garden house called "the Garden Temple," a spacious
square edifice with the corners cut off, the walls furnished with
niches. (A view of the front is on the title-page of the second volume
of the "Engravings".) This very dilapidated building, lately how-
ever in course of restoration, serves in the mean while as a lumber
room, nor is it easy to thread one's way through — to say nothing of
studying accurately — the stores which are crowded together and piled
one on another. Through the " Temple " lies the way to the Green-
house, in which again several antiques are arranged. After enjoyment
of the collection by the public had not been allowed with the same
liberality as in its early days, at least for a time while Mr Blundell's
son controlled it (see Clarac's complaint, in. p. cccxxxvii, while
Spiker had occasion to praise Blundell's amiability), the present owner
Mr Thomas Weld-Blundell with exceeding liberality permits the
undisturbed study of his treasures; indeed he has gone so far as
very kindly to allow not merely photographs to be taken (by his
gardener, a learned photographer ') but even casts of some specimens
(nos. 15, 154, 179, 259, 267). Still many others deserve to be simi-
larly multiplied, especially nos. 30 and 43, and also perhaps nos.
33, no, 121, 177, as well as sundry reliefs. The "Account" like the
"Engravings" only published for private presentation, being of the
greatest rarity and scarcely to be met with, I have here communi-
cated all matter-of-fact indications from both works and have supple-

336 INCE ELUNDELL HALL.

merited or corrected them by my own observations and some other
aids, especially Prof. Bernoulli's notes. As to the explanations
offered in these volumes, they being more than curious, I have
thought it better to set them aside. It must here however be observed
that the identification of the busts named in the " Account," indeed
even of those represented in the " Engravings," is often very diffi-
cult, and therefore some errors committed in referring the notices
before me to particular specimens of the collection may have crept in.

It was impossible to follow the present order, partly because in
many points it is not definitive, partly because my notices are not
complete enough for it. In the "Account" there is no ruling system,
so that there would be no sense in following that. My arrangement
divides first of all the different classes of sculptures. Among the
statues those come first which Clarac has had copied, and indeed
according to the order of his work. For the rest in the several
classes of monuments those take precedence which are figured in the
" Engravings" and then come the rest according to the numbering of
the "Account." By this means it is in particular made easy as far
as possible to find out a published specimen. The numbers of the
"Account" are placed in brackets after the consecutive numbers,
so too as far as possible is the indication of the place where the
specimen is kept. In these brackets G. means the greenhouse with
the adjoining localities. P. the "Pantheon" with its vestibule, S.
the staircase, T. the garden temple.

The following grouping of numbers may serve for more conve
nient use on the spot.

Pantheon. Statues no. i. 2. 8. 9. 11. 12. 14. 22 — 24. 28. 29
31- 33- 34- 36. 37- 40- 43—45- 52- 53- 56- 63. 71. 74- 78- 81. 82
Busts no. 89. 90. 92. 94. 95. loi. 104 — 106. 108. no. in. 113. 115
— 117. 119 — 122. 127. 128. 137. 152. 155. 164. 178. 182 — 185. 193
214. 216. 217^ Reliefs no. 221. 227. 241. 246. 259. 267. 271, 272
281. 282. 288. 289. 295. 303—310. 37i(?. 393. 395.

Picture Gallery. Busts no. 96. 114. 170. 189.

Staircase. Statues no. 3. 4. 17. 21. 26. 27. 54. 55. 68 — 70.
Busts no. 123. 126. 148. 205 a. Reliefs no. 218. 224. 228. 245.
247 — 251. 256 — 258. 260. 262 — 265. 269. 270. 274. 374. 378. 396.
398. Mosaics no. 410. 413.

Garden Temple. Statues no. 5 — 7. 13. 15. 16. 18. 20. 25. 30.
32. 38. 39. 42. 46. 48. 59. S^. Busts no. 84 — 88. 91. 93. 98 — 100.
102. 112. 124. 125. 133. 139 — 141. 154. 160. 168. 176. 216 a. 217
a.t.c. Reliefs no. 261. 273. 278. 287. 290. 296. 298. 375 — 377. 391.

IN'CE UI.U.NDKl.I. HAl.l. I-

337

Greknhousk. Statues no. lo. 41. 49 — 51. Busts no. 217. d.
Reliefs no. izt,. 225. 229. 243. 255. 397.

Statues.

I (56. P). Ceres. Clarac, in. 396 C, 662 A. Engr., 31,
"Cybele." Mon. Mattli., i. 71, " Sacerdos Cereris sacrificans." The
fully-draped, veiled goddess sits on a broad stool, holding out a cup
in her r. hand. Near her r. leg a circular altar, covered with a sheep-
skin, close to it a cow or an o.\, on it a tympanon ; to her 1. a small
round cista, apparently with a lid, by it a pig. The animals are
those preeminently sacred to Demeter, to whom, it is true, the tym-
panon only pertains through a confusion with Rhea or Kybelfe. Cf.
Overbeck, Kunstmytlwlogie, in. p. 459, and the similar statue in the
Collegio Romano (Gerhard, Ccs. AhhandL, 11. p. 397). New : head
of cow, 1. hand of goddess, parts of r. hand and of the cup, neck and
veil, nose and chin ; the rest of the face old, but not belonging to
the statue, of different marble. Italian marble. Decorative work.

H. 0-50. [*c;f]

2 (4. P). Statue of Zeus. Clarac, iii. 396 D, 681 A.
Engr., 4. Entirely nude, r. arm lowered, 1. raised. The general
expression is rather grand, the execution is however not above the
ordinary standard, moreover the whole surface is sadly smoothed over.
Head, with curly hair and beard, of noble features, but indifferent
expression, has never been detached from the trunk. New : r. hand,
1. arm with sceptre, lower part of 1. leg, three quarters of r. leg, besides
trunk of a tree and eagle. A strong plug of lead near r. wrist served
probably to fasten on the thunderbolt. On the back under the
shoulder-blades two small drilled holes. From Hadrian's Villa, after-
wards in the Villa d'Este. H. 2-14. [*C]

3 (10. S). Draped female figure. Clarac, iii. 421, 743.
Engr., 10, I, "Juno." Over a chiton, the folds of which fall down
over the girdle as far as the lap, the figure wears a cloak which fully
covers back, head, upper parts of body and of arms, and which would
enfold the whole body, if both forearms did not raise up a part of the
cloak. New : veiled head and neck, both hands, the r. with a pome-
granate. According to Clarac one of the best statues of the collec-
tion ; it really is executed, though not at all delicately, still in a very
powerful decorative style. Thasian marble. From Hadrian's Villa,
after^vards in the Villa d'Este. H. 178. [*]

4 (18. S). Draped female statue. Clarac, iir. 428, 769.
M. C. -7 2

338 INCE BLUNDELL HALL 5 — 8.

Engr., 18, 2, "Ceres." Cavaceppi, Race, 11. 36. Very ordinary
statue in chiton and cloak which leaves r. breast and arm free. New:
r. forearm with ears of corn, half 1. forearm ; the head has been
broken off but is old and perhaps its own. Found in some ruins a
Httlewayout of Rome, and bought from Antonio d'Este. H. i-o7. [*]

5 (39. T). Statuette of Silvanus. Clarac, iii. 449, 820 A.
£ngr., 26, I. Exhibits quite the usual type of the rural god (of
Reifferscheid, Annali, 1S66, pp. 210 f ), only that instead of the skin
filled with fruits there appears a small cloak with nothing in it (cf.
ibid., PI. K, 2); it is more distinguished by tolerable preservation than
by goodness of the work. New : only 1. hand with the branch of a
pine tree, r. arm (which should be more bent) with the knife, lower
parts of legs, which are therefore without the boots. H. o'69. [*C]

6 (22. T, portico). Statuette of a boy, carrying flowers and
ears of wheat in the lap of his tunic, probably representing the
season of spring and summer (cf. Marbury, no. 8). Clarac,
III. 449, 816 A. £?igr., 19, I, "Vertumnus." New; head and
neck, lower parts of both legs with corresponding piece of drapery
falling down behind as far as the ground ; 1. forearm and both hands
wanting. Coarse work. H. o'88. [*]

7 (54. T). Statuette of Tyche. Clarac, 111. 454, 834 A.
Engr., 44, I, " Fortuna Navalis." Draped in chiton and cloak, sitting
on a throne, r. hand on the steering paddle, large cornucopia in 1.
arm. New, according to Clarac : paddle, cornucopia, I. arm : to myself
all essential parts seem to be antique. The head seems to be a portrait
and may belong to the statue. Very ordinary work. From the Villa
Borioni. H. 073. [*]

8 (i. P). Statue of Athene. Clarac, iii. 473, 899 A. Engr.,i.
Account, PI. I. The goddess in girdled Doric chiton stands on r. foot,
1. being somewhat retired. Preservation excellent. Head never broken
off. New: apex of helmet above the brow and the sphinx, tip of nose,
r. forearm with owl (cf. Newby, no. 23), thumb, first finger and part of
middle finger on 1. hand, two toes of 1. foot, trifles in the drapery.
In 1. hand traces of the groove intended for the spear. The drapery
shows the motive of the Paithenos ; folds deeply undercut ; the
small aegis almost entirely invisible behind the back ; on the other
hand the long coil of the hair of the Parthenos is retained. Selvage
of chiton still recognisable. The inclined head however indicates a
later type, though less sentimental dian many other heads (e.g. Men.
dell. Inst, IV. PI. i). Good, though somewhat dry Roman work.
Pentelic marble. Found in Ostia ; from the Palazzo Lante it passed

INCi: lil.UNDKl.L HAI.I. 9 — 12, 339

through Voli)ato's hands to Jenkins, from whom it came to IJlundcll.
H. 1-98 without tiic sphinx. [*C]V]

9 (8. P). Statue of Athen6. Clarac, in. 473, 899 B. Engr., 8.
Account, PI. 8. Pose of the figure and arrangement of chiton corre-
spond to the statue no. 8; aegis reaches down from r. shoulder
to 1. hip in a slatiting direction ; on the 1. shoulder lies a piece
of the cloak. New : r. arm, 1. arm from above the elbow with
the shield, about a third of the parts of the legs below the knee, besides
details in the folds, on the head the whole r. half of face including
the nose, mouth, chin and part of the 1. brow, the guard of the helmet
(the ram's-horns 1. old) and the sphinx but for a part of the attachment.
Work in no respect remarkable, folds on body very flat while they
are as marked and deeply cut in on the r. bearing leg, as if there
were no solid leg underneath. Coarse-grained Parian marble.
According to the "Account" the statue was got from the Villa
Negroni. According to Thorpe however {ibid., p. 28 r) the head was
found near the church of S. Croce in Gerusalemme and came into
Cavaceppi's possession ; the torso found at the church of S. Susanna
on the Quirinal was purchased from Albaccini, and Canova directed
the further restorations. H. i'93. [*C]

10 (13. G). Statue of Athene. Clarac, in. 473, 899 C.
Engr., 13, 2. Insipid enough, but not belying a good original
(cf. Castle Howard, no. 4). New : head and r. arm. From the
Villa Mattei. H. 1-47. [*]

11 (518. P). Torso of an Athene in hieratic style. Clarac,
III. 473, 899 D. Ejigr., 38. The large aegis with a powerful
Medusa-head in old style is girt with a lion's skin, the head of which,
disproportionately small, appears in front in an unusual manner as a
kind of buckle to the girdle. In Clarac's doubt as to the antiquity
of this rare dress I entirely participate. I regard the frigid, over-
refined torso of Italian marble as modern. On it is set an insignifi-
cant antique head of yellowish marble ; the so-called Corinthian
helmet is furnished with a very lofty crest. New : arms, and legs
from the knees downwards. Bought at Lord Cawdor's sale. H. 1-30.

12 (P). Statue of Apollo Sauroktonos. Chirac, iii. 476 B,
905 B. Engr., 36. Torso antique, also the uppermost quarter of
both legs and the piece of r. arm from above elbow to wrist. The
antique head (new : nose, chin, neck) has not the ingenuous expres-
sion of the Sauroktonos, but somewhat the character of a Venus, anil
seems to be of different marble from tlie torso. Work good, but not

340 INCK BLUNDELL HALL 1 3 — I 5.

eminently ro ; according to Clarac the statue is polished over.
Found near Rome by G. Hamilton and sold to Mr Rob. Heathcote
and sent to England. H. 1-38. [*CJV]

13 (12. T). Statue of Apollo in repose. Clarac, lu. 48S,
946. Etigr., 12. New: lower parts of both legs, both arms, lyre
and stem of tree. Head antique, but seriously restored, and not
belonging to the statue. Work, flat decorative. The statue was
got from the Villa Mattel and is probably identical with Mon. Matth.,
I. 8, Clarac, iii. 476, 912 E ; rather than with Mon. Afaith., i. 4,
Clarac, in. 490, 954 B. H. i'45. [*]

14 (76. P). Statue of Apollo, Clarac, iii. 488, 946 A. Etigr.,
23, 2. The graceful, but by no means finely executed body rests on
r. leg. The quiver-strap goes slantwise over the breast, but there
are no traces of the quiver on the back. Long curls fall down on
the shoulders. New : head, both arms, tripod, 1. thigh and half the
lower part of the leg, both feet. Greek marble. H. i'34. [*C]

15(530. T). Statue of Apollo, of archaistic style. Clarac,
III. 488, 946 B. Eiigr., 39. Arch. Zeit., 1874, PI. 2. This very
interesting statue is most closely related in style to the Vatican
Apollo (Gerhard, Ant. Bildw., PI. 11. Clarac, iii. 483, 931), but is
distinguished by its wonderfully perfect preservation. New : only a
small piece of tip of nose, r. hand, uppermost point of bow, part of
pedestal. The god, quite nude, has his weight on both feet equally,
1. foot a little advanced. L. arm (antique throughout) hangs down
freely close to the body : r., likewise lowered, is a little advanced.
Bow and arrow on the laurel tree determine the subject as Apollo.
Fingers of 1. hand in such a position as shows them to have once
had some object in their grasp. It is the old type, as it begins
in the famous statue of Tenea and its congeners and later on has
been remodelled and improved in different ways, especially in the
Choiseul-Gouffier Apollo in the British Museum {Spec, 11. PI. 5, Mus.
Marbles, xi. PL 32, Journ. Hell. Stud., i. PI. 4, Clarac, iii. 482 B,
931 A) and the replica thereof from the theatre of Dionysos at Athens
(Conze, Beitr. zur Gesch. d. griech. Plastik, PI. 3 — 5). In the
broad prominent breast and deeply hollowed back and loins one
discerns a reminiscence of the archaic style, but the whole treatment
of the form is modernised and badly flattened. There is an
especially distressing contrast between tire archaic type and the
modern execution of the head, which compared with the rest of the
body seems needlessly stiff and devoid of expression. The hair
with an old-fashioned roll (Kpco/ji'Xos), wliich is raised at the back

INTK lilA'XDF.I.I. IIAII. 16—19. 341

of the neck and looped in a head-band, is no less suijerficially treated.
The lobes of the ears are of comparatively small curvature, the eye-
balls indicated by a circle. The statue, which is throughout much
poorer than the so-called Stephanos figures which are akin to it in
many traits (see Margam, no. 5), is perhaps the latest and weakest
imitation of that ancient type ; but it is interesting, because it shows
how long that type maintained its currency. Pentelic marble. H.
1-53 (without pedestal). Bought from the Bessborough collection.
[*CIF]

16 (52. T). Statue of sitting Apollo. Clarac, m. 494 A,
959 C. Engr., 44, 2. He sits on a block of rock on which a lizard
crawls. Upper part of body nude, legs enveloped in cloak. It is
very seriously patched up, and is besides of a poor style of art.
From the Villa Mattel. H. 0-76. [*]

17 (74. S). Statue of Muse ? Clarac, in. 515, 1041 B. Engr.,
10, 2, "Thalia." The delicate chiton is entirely ungirt, the cloak
lies in a rather meaningless manner on the r. thigh which is a
very little bent forward, and covers back and r. arm. The pleasing
original from which this copy was taken must have been in the manner
of the Venus genetrix in Coan drapery (see Holkham, no. 27); the
copy before us is executed with little care. New : ivy-crowned head,
neck, three-quarters of r. arm with the mask, 1. fore-arm with pedum,
part of drapery, the pedestal. Bought from the sale of property left
by La Piccola together with nos. 30, 32, 411. H. 1-22. [*]

18 (23. T, portico). Statuette of Muse? Clarac, in. 516,
1053. \. Engr., 20, "Melpomene." The richly draped figure sup-
ports itself with the 1. elbow on a column. Chiton girt high up,
enveloped on the thighs by a cloak of which the folds fall down near
the 1. hip over the column. New : head, greater part of breast, r. and
almost all 1. arm with the mask, 1. foot and part of the column. Badly
executed. Bought from Cavaceppi. H. o'Sg. [*]

19 (19). Statuette of Muse? Clarac, 111. 533, mo C.
Engr., 14, 2, " Urania." Clarac takes the hands with globe and style
to be modem. In my opinion the whole of the little alabaster figure,
especially in the arrangement of its cloak, quite suggests certain
Christian figures of saints, so as to convey more than a mere suspicion
of its genuineness. The statuette is said to have been found in the
Marrana, a muddy brook which comes down from the Alban hills,
and after flowing through the Circus Maximus empties itself into the
Tiber. It was bought from Cochetto, a noted dealer in antiquities,
and restored by .\ntonio d'Este. H. 0-38.

342 IN'CE BLUNUKI.L HALL 20 — 23.

20 (5. T). Statue of Asklepios. Clarac, iv. 550, 1160A.
Engr., 5. The statue exhibits none of the usual characteristics of
Asklepios. The front corner of the cloak is thrown over the 1. fore-
arm ; instead of the staff entwined by a snake the stem of a tree
entwined by a snake stands near the r. leg. New : 1. hand from the
cloak, the three first fingers of r. hand (the arm has never been broken
otf), head of snake and a piece of the neck. The feet have been
broken off, but are antique, and so is the pedestal. The head is put
on, but almost certainly belongs to the statue. It looks up a little
sideways and strongly reminds one of the Blacas Asklepios in the
British Museum. Consequently the nomenclature both of the statue
and the head is reciprocally verified. Work not bad, so far as the
unfavourable light and position allow it to be discerned. From the
Villa Mattel. H. 2-08. [*]

21(29.8). Statuette of Asklepios. Clarac, iv. 551, 11 60 B.
Engr., 18. In the case of this statuette the meaning is determined
by the head with its long beard, which has never been broken off.
New : nose, 1. arm, half the r. with the staff entwined by a snake, r.
foot and toes of 1. and the pedestal. Unimportant work ; expression
of face meaningless. Found a little way out of one of the gates
at Rome and bought from Cavaceppi. H. 076. [*]

22 (2. P). Statue of Artemis. Clarac, iv. 567, 1209 A.
Engr., 2. Account, PI. 2. Antique : the torso with its short
drapery of heavy style and the large skin girt over it (of which the
head and the leg that hangs down in front are new), and part of the
quiver, also the knees, r. arm, exclusive of the hand with the arrow,
and a piece of the neck and back of the head, though the last is not,
as is stated in the Account, unbroken. New : apparently 1. arm ;
Conze describes the hand exclusive of the tip of the thumb and the
forefinger as probably antique; all the rest is certainly new. "When
this statue was first found it plainly appeared to have been gilt;" that
is it is in many parts quite yellow, but that is scarcely to be accounted
for by gilding. Found in the ruins of the Emperor Gordian's Villa,
and bought by Mr Thorpe from Albaccini. Of very mediocre execu-
tion. H. 1-58. ["CfF]

23 (37. P). Statuette of Artemis. Clarac, iv. 580, r237 B.
Engr., 28, I. A short chiton tucked and girdled after the fashion of
an Amazon covers both breasts ; the quiver-strap runs slantwise across
the breast. Near 1. leg a stem of a tree with quiver and skull of a
wild beast on it. The head is antique (nose and part of the knot of
hair restored), and may belong to the statue in spite of the inserted

IXCE lil.UN'DEl.I, lIAll, 24, 25. 343

neck. Lobes of ears pierced. New : r. arm with siiouldcr, hail" the
1. forearm, r. leg below knee, a part of same portion of 1. leg, parts
of folds of draper)' and of pedestal. Composition of statuette pretty,
though execution not particularly delicate, the back indeed is left
quite rough. Very remarkable is its resemblance to the statues of
Amazons in which sometimes even the whole breast is draped, e.g.
in the Dresden and Vienna statuettes (Clarac, v. 8ioA, 2031 B,
Berichtc d. siicks. Ges. d. IViss., 1850, PI. i, 2, 6), and on the Phigalia
frieze, &c., so that a doubt as to the intention can arise as well as
that which prevails in the case of a similar statue in the casino of
the Villa Pamfili (Clarac, iv. 567, 1208 B, cf. Jahn, Berkhie, I.e. p.
46 note). If Artemis is really intended, we have before us an older
type of the goddess with short drapery. Grey marble. H. 0-56.
{*CW\

24 (20. P). Enigmatical Statuette. Clarac, iv. 593, 1290.
Engr., 15, I, "Venus Victrix." This unpleasing figure wears over
the chiton apparently a kind of woollen jacket, which, however, has
been created solely through modern working over of the pretty well
worn chiton; over that a short cloak. New: both arms (the cup with
the Victory, which is said to have been added, according to Visconti's
advice, is now no longer in existence) and the front half of both
feet, also the head with the strange cloth on it, though a part of
the face is further added separately. A corner of the drapery behind
the r. shoulder seems to have furnished the idea of the head-cloth.
Moreover the whole figure is not free from suspicioa At best it is
entirely worked over. The meaning is obscure in my judgment.
From the Villa Mattei. H. 0-84. [*6']

25 (5jI- T). Statue of sleeping Hermaphroditos. Clarac,
IV. 628, 1425 B. Engr., 41, "Sleeping Venus." The Account
(1803) mentions the figure under the first title as it was bought from
the Bessborough collection; "this curious figure is accompanied
with three little genii, one of which is sucking at the left breast."
Otherwise the Engravings (1809): "The figure was unnatural and
very disgusting to the sight ; but by means of a little castration and
cutting away the little brats [crawling about its breast], it became a
sleeping Venus and as pleasing a figure as any in this collection." We
now see after this, certainly very cleverly e.xecuted, operation, only
a nude female figure, lying half on the back, half on the r. side, on a
wide drapery which merely covers the r. knee and the lower part of
the leg drawn up under it, as well as the part about the 1. knee. The
u])per part of the body lies raised on a block of rock covered with a

344 INCE BLUNDKLL HALL 26 — 29.'

drapery, and the head is very naturally fallen back on to the r.
shoulder. Eyes closed ; the widely opened mouth, from which one
fancies one can perceive breath passing, corresponds to the bent back
position of the head. A wreath of flowers tied with a bandage adorns
the hair. Very singular are the unusually developed breasts, especially
the 1. which almost hangs, but in fact this peculiarity finds its expla-
nation in the circumstance that we originally had before us a sleep-
ing Hermaphrodite as a nursing mother, the acme of unnatural
refinement. The work deserves no special praise. New: whole of
r. arm which hangs down, and 1. from the armlet which encircles
the middle of the upper arm, half r. foot, the 1. leg with foot in a shoe,
a great part of the wreath of flowers, nose and mouth. L. 1-25. H.
0-50. [*]

26 (32. S). Statue of Cupid without wings, with attributes
of earth and sea. Clarac, iv. 649, 1455 A from Engr., 19, 2, and iv.
650 D, 1455 A from Mon. Matth., i. 15. The boy, quite nude, steps
forward with 1. leg. Hair curly, lying on the top of the head in the
well-known plait-like arrangement. In 1. arm he carries a large bunch
of akanthos leaves with flowers and fruit ; on the support near 1. arm
a dolphin twines itself. New : r. arm with quince, 1. hand, 1. foot,
half r. and part of pedestal. Ordinary work. From the Villa Mattel.
H. 0-68. [*]

27 (31- S). Statue of Hermes as a boy. Clarac, iv. 655,
1506 A. Engr., 24. The nude boy with winged shoes on his feet
stands in repose. Body rests on r. leg, near which is a heavy support
adorned with the caduceus. The curly child's head is put on, but
perhaps its own. New: both arms and the purse. Winged shoes
and caduceus certainly old. Ordinary work. Bought by Mr
Thorpe. [*]

28 (30. P). Statue of Hermes. Clarac, iv. 661, 1528 A.
Engr., 23, I. The god stands in a tolerably reposeful attitude, r.
foot a little retired, stepping forward a little with 1. foot. The chlamys
buttoned together on 1. shoulder passes slantwise over the breast,
covers r. shoulder and r. arm, and from it falls down to the knee ;
under it is the trunk of a tree. Head with wngs facing somewhat r.
is put on ; nose and 1. cheek patched. New : half r. arm with tor-
toise, 1. hand with handle of caduceus as also its upper end, and
perhaps r. foot as far as above the ankle. The statue is coarsely
worked and of clumsy proportions. From the Villa d'Este. H. i"o8.

29 (34- !')• Statuette of Hermes. Clarac, iv. 661, 1529 A.

INCH BLUNDELL HALL 30. 345

£ngr., 26, 3. C'hlamys lies on 1. shoulder and co\crs part of arm and
back. Body, slightly bent, rests especially on r. leg, near which a
clumsy support is visible, r. leg somewhat bent. The lowered r. hand
holds a purse. New : head with its winged cap, half the lower
parts of the god's legs with the adjoining part of the trunk of the
tree and 1. hand, but the middle part of caduceus antique, enough to
verify the attribute. Of the lie-goat by the trunk of the tree the head
is old; but the rest of its body is new. The statuette is clumsy and
of poor workmanship. Bought from the Palazzo Capponi. H. 0-55.
[*C]

30 (75. T). Group of Satyr and Hermaphrodites. Clarac,
IV. 672, 1735 ^- £".?''• 42. Bomgtr, A n/iacol. mid Kiirist, i. Plate
to p. 169. Several examples of this composition, altogether or in part
identical, have come down to us: namely two in Dresden (nos. 209,
2 1 o) found at Tivoli, formerly in the collection of Prince Mazarin ;
one from Hadrian's Villa, once in Count Fede's possession, now
lost (Lipsius, Besc/tr. der Antikengall. in Dresden, p. 312); one in
the British Museum (Graeco- Roman Sculpt., no. 178, Mus. Mar-
bles, XI. 39). This proves the popularity of the symplegma (according
to Stephani, Compte-Rendii, 1867, pp. 10 f , by Heliodoros, see Pliny
Nat. Hist., 36, 35). Its popularity is accounted for as much by the
lubricity of the subject, which is agreeable to the taste of the Helle-
nistic period, as by the wonderful excellence of the lively composition.
The bearded Satyr, whose sexual excitement is extremely apparent,
sits on a low rise of rock and has both legs clasped round a Herm-
aphrodites so that the Hermaphrodites' back is turned to him.
But with the suppleness of an eel the Hermaphrodites contrives to
extricate himself from the embrace, by resting his r. knee on the
ground in a peculiar bend and drawing his 1. leg from under the 1. leg
of his assailant so that the ne.xt minute will find him on both knees
half turned to the Satyr. He is already twisting round his lithe body
and pushing aside the 1. foot of the assailant with the 1. hand to
give himself free space for springing up and effecting his escape, and
is thrusting his r. hand straight into the Satyr's face, who has to seize
the arm with both hands to save himself from the thrust, and whose
whole body is forced back. The Hermaphroditos, sure of victory,
looks back on his too forward lover, with a mocking smile of triumph.
The whole of the extremely complicated movement is carried out
in a masterly manner, all one direction, one movement, the previous
and the immediately following moments of the struggle connected in
the most pregnant way. Agreeable to this is the exceedingly soft,

346 INCE BLUNDELL HALT. 30.

fleshy rendering of the lithe, female figure with its full roundness of
breast and hip and the very sprightly lines of the bent back. The
features too of the Hermaphroditos are appropriate in connection with
the Satyr, borrowed as they are from a merry, robust, country-girl
used to sport of the kind. The poverty of the delineation of the
masculine parts stands in characteristic contrast to all the lines and
curves of the body and the long hair. The naturalistic sentiment,
especially in the rendering of the nude, reminding one of Dutch
artists, combined witli the smallness of the figures, which are about
half life-size, all the more strongly emphasizes the lubricity of the
motive. The same is the case with the Townley group of a Satyr
and a nymph in the British Museum (Dallaway, p. 312, no. 27,
Visconti, Mas. Pio-Ckm., i. p. 48 Mil., Arch. Zeit., 1874, p. 24).
The preservation is in the most important portions excellent,
the head of the Hermaphroditos in particular never having been
severed from the body. New : of the Hermaphroditos, 1. forearm and
lower parts of both legs ; of the Satyr, the lower part of r. leg and
half the lower part of the 1. leg, 1. knee-cap and a large piece on the
r. knee, part of the cranium, besides insignificant patches and the
bottom part of the rock. The restorer has not caught quite the right
idea as to the 1. hand of the Hermaphroditos, which must have grasped
the foot of the Satyr otherwise, and probably not as to his r. leg, which
may have been placed a little less out. The group is not executed
with particular delicacy but with considerable vigour. It was found
about A.D. 1760 in the Tenuta di Salone on the Via Praenestina this
side of the Tor d^ Schiavi, as was also no. 32, a crouching Venus
and a plinth on which is said to have been the inscription BovTraAos
k-KoUi (Visconti, Mus. Fio-Clem., i. p. 61 Mil., Opere Fane, 11. p.
644, note i). The Venus with a copy of the plinth, accurate even
in the mouldings, went to the Vatican (Aftts. Pio-Ckm., i. PI. 10).
Our group was united by the discoverer Nic. La Piccola (cf. no. 17)
with that plinth, which undoubtedly had nothing to do with it origi-
nally. For it must have had a piece added to lengthen it to be able
to receive the group (at present it is 070 long by 0-50 broad); again
the block of rock does not consist of the same piece as the plinth
but was afterwards let into it. Probably the plinth was thoroughly
worked over on this occasion and so got its tolerably modern look.
Moreover the inscription, which stands on the narrow side under the
feet, appears very suspicious. It is faint as if scratched in with a
knife thus —

ixcii BLUNni;i.i. liALi. 31, 7,2. 347

BOVnAAOS
EnOIEl

The sliape of the B, the Y slanting 1., the A instead of A and
lastly both the I's without the little stroke at the top strengthen our
suspicions. Visconti, considering that the palaeography has little in
common with the period of the ancient Bupalos of Chios, supposed
a falsification of the inscription in ancient times (cf. Phaedr. jFab., 5,
/>ro/.), as indeed we read of a preference entertained by Augustus for
this very ancient sculptor (Plin. JVa^. Hist., 36, 13); in my opinion it is
more probably a modern forgery, as Franz also supposes (C. I. Gr., iii.
6141), and this in fact would not be the only instance in connection
with the name Bupalos (see R. Rochette, Lettre h M. Sc/wni, p. 239).
In the Engra7'i/igs we read of this group, "La Picola...kept it u\t
for many years at an extravagant price. The late Mr C. Townley is
said to have offered a very large sum for it. At La Picola's death it
became the joint property of his widow and other.s, when it was
obliged to be sold, and was purchased for this collection." L. 078.
H. 0-67. \*IV]

31 (14. P). Statue of Dionysos. Clarac, iv. 678 A, 1595 A.
Engr., 14, 1. Mm. Matth., i. 1 2. The god, perfectly nude, stands with
his body slightly inclined and his r. arm leaning on the trunk of a
tree twined v/ith branches of vine; 1. arm hanging down on the body,
r. hand resting on a bunch of grapes. This statue of medium size
has been broken across the body, below the knees and across both
arms. New: head crowned with vine, 1. forearm with vase (both diffe-
rently restored previously — a patch on I. hip still shows the old point
of junction), probably r. leg from knee to ankle. The preservation
of the other parts is good, as also is the work. The oval pedestal
has a rough moulding in the style of the basis of an Attic column.
From the Villa Mattel. H. 1-15. [*C]

32 (73. T). Statue of Dionysos. Clarac, iv. 6S4, 1603 A.
Engr., 34. The youthful god with long curls, a fawn-skin hanging
from the 1. shoulder slantwise over the breast, rests on the r. leg,
which is attached to a clumsy support : the 1. leg being slightly bent
and a little retired. The bent head (new: nose and lips) is encircled
with a fillet. It may be the original head: the neck however is in-
serted. The 1. hand with the kantharos and the r. hand or the fore-
arm with the thyrsos are most probably modern, apparently also the
legs below the knee with the corresponding portion of the support :
still the figure is so covered with o'd dust that it is very difficult

348 INCE BLUNDELL HALL 33—36.

actually to judge about the various parts. Found together with no.
30 and likewise bought from La Piccola's widow. H. 1-58. [*]

33 (38. P)- Female Statuette (Nemesis ?). Clarac, iv. 69S,
1646 A. E?igr., 26, 2, "Bacchante." A pleasing Attic figure in
doubled chiton, fastened, with a mass of folds round the hips,
resting on 1. leg while the r. foot is a little advanced. The move-
ment of the r. arm, which is not modern, is particularly delicate. It
is raised before the breast so that the hand grasps the drapery at
the throat. That it should therefore be called Nemesis, as Conze
conjectures (cf Anthol. Palat. afp. Flanud., 223, 224, Mesomedes,
Hymn, in Nem., 11), is possible, but not certain (see Zoega, Abhandl,
p. 52); it would be certain, if indeed the lowered r. hand had held a
twig of apple. The head joined on to the body by an inserted neck
seems old (new according to Clarac and Conze) and may belong to
the statue. New: the whole lower part nearly up to the knees and
half the r. forearm with the vase; besides two iron plugs visible on the
chiton prove that the hand always held an object requiring to be
fastened on to it. H. 0-475. [*C']

34 (15. P). Statue of a Bacchante ? Clarac, iv. 698, 1696 B.
Engr., 15, 2. A figure in long drapery. It is assigned to the Bacchic
cycle owing to the fawn-skin girt slantwise across the body. But with
its full drapery, its long mass of folds hanging down, and the dignified
repose of the attitude, it rather gives the impression of a goddess
(Ariadne ?) than of a dancing Bacchante which is stamped upon it by
the modern cymbals. New: both forearms with the cymbals, also
the head and neck. Work somewhat hard, apparently a reduced
copy of a good original of larger size. Greek marble. Found in
Hadrian's villa, and bought by Mr Thorpe. H. 1-19. [*]

35 (57)- Group of Satyr-boy and Goat. Clarac, iv. 709,
1670 A. Engr., 32. The pretty lad, only to a small extent covered
by the skin which is fastened below the breast with a cord, kneels on
the r. knee and has the 1. foot advanced. He holds a bunch of
grapes in each hand, while his glance is directed to the goat which
lies before him on the ground with its head attentively raised. The
pleasing motive has a lively effect. New : r. arm and 1. leg below
the knee. From the Capponi palace. H. 0-46.

36 (516. P). Statue of Aphrodite (called " Galatea"). Clarac,
IV. 746, 1802 A. Engr., 1-^, i. For the motive and meaning of this
attractive figure see below on Newby Hall, no. 6. This copy came
from Greece to Rome, where Lord Cawdor bought it. Though not
very delicately worked it is still of good decorative effect. The

INCE lil.UXDKI.I. HAM, 37, 38. 349

I)ierced snout of the dolpliin proves that it was employed to adorn a
fountain. The head with stephanfe and veil is put on, but is certainly
old and its own (Conze thinks otherwise). A mark of a join {pimtello)
above the r. breast shows that the veil fell down so far. New : r.
arm with shoulder, 1. forearm (upper arm broken, but old), upper
part of staff and dolphin ; sundry pieces on under border of garment.
Well preserved in the genuine portions. Coarse-grained Parian
marble of fine yellow colour. H. i-i8. [*C, cf. Matz, Arch. Zeit.,
1873. P- 23, note 3.]

37 (16. P). Statue of Anchirrhoe. Clarac, iv. 750, 1828.
Etigr., 16. Visconti, Afits. Fio-Ckm., iii. PL a, v. This example is
distinguished among the several replicas (Stark, Niobe, pp. 283 ff.) by
the undoubtedly genuine inscription (Conze indeed suspects it)
ANCHYRRHOE', which first recalls Neilos' daughter the wife of
Belos ; the same significant name however belongs also to other
water-goddesses (Visconti, iii. pp. 189, 231 Mil, Matz, Arch. Zeit,
1873, p. 31, Michaelis, ib., 1874, p. 24). The charming motive
of the nymph answers to the latter. She lifts her drapery slightly
over the r. knee and steps down cautiously to the well. She without
doubt once carried a hydria on the r. shoulder (see Friederichs,
Berlins ant. Bildw., i. no. 685). The body is entirely supported on
the 1. leg, which is bent, while the r. foot is advanced. It is pretty
clear that the figure was originally designed to adorn a well (cf. Paus.,
8. 31, 4). Unfortunately, owing to the unintelligent restoration of the
head, which ought to look down, and to the affected elegance of the
pose of the r. arm with the tiny hydria, the impression of beauty
is seriously impaired. The restoration, after a clumsy repairing of
older date had been removed, was effected for Blundell by the
sculptors Lisandroni and Este. The r. arm and the shoulder are
correctly restored, as the folds of the cloak on the thigh prove.
R. foot and half the lower part of leg also new. The pleasing com-
position has, as it seems, been subsequently transferred to Muses
and other maidens. Brilliant Parian marble. Found in Hadrian's
Villa, bought from the Villa d'Este. H. 1-65. [*CJ/;F]

38 (51. T). Statuette of Serapis. Clarac, iv. 758, 1851 C.
Etigr., 30, " Pluto." This statuette exhibits the usual representation

^ Matz shows that this inscription was already known in the i6th century.
It subsequently disappeared, and the statue received the name Hebe. " When it
was removed from the place in the Villa d'Este, where it had stood for many
years, on the plinth of it was discovered its real name, which had been long
covered with mortar." (^Ucoiinl, p. 16.)

350 INCK BLUN'DEI.L HALL 39 — 42.

of the Alexandrine God, seated on a throne, draped in chiton and
cloak, on the lowering head the modius decorated with a spray of olive,
sceptre in 1. hand, Kerberos at the r. In the original the snake
shows no scales. New : both arms from the drapery, upper half of
sceptre, middle and outer heads of the hell-hound. Coarse work. H.
0-86. [*]

39(55.1"). Statuette of Serapis. Replica of the last statuette.
New : only 1. arm with upper half of sceptre and the face, the greater
part of the head with the modius ornamented with boughs is old.
Coarse-grained Parian marble. Bought from Cavaceppi. H. o'86. [*]

40 (28. P). Statuette of Aphrodite-Spes. Clarac, iv. 760,
1899. Eiigr., 22, "Spes Etrusca." A rougli Roman copy of the
very old artistic device by which Greek art had at first tried to
enliven the long drapery of female figures and which was then used
by preference for Aphroditfe, and afterwards for Spes. New : head,
both forearms and lower part of the legs from below the calves. H.
075. [*C]

41 (G). Statuette of Aphrodite-Spes. A much stiffer
replica of the same figure, but reversed so that the r. hand grasps the
drapery, the 1. holds a fruit or flower. It is so rigid that the taking
up of the corner of the drapery exerts scarcely any influence on the
general direction of the folds. New : nose, neck, lower part of legs
and two fingers of r. hand. H. 074. [* W\

42 (9. T). Statue of Phrygia ; colossal scale. Clarac, iv.
768 A, 1906 A. £ngr., 9, " Bithynia." This statue is executed in
rather a coarse decorative style, yet is of good effect. It is worthy
of attention as the only undoubted example which has come down
to us of a sculptured personification of a province. A high girt
chiton of stout material falls in simple folds down as far as the knee :
before the breast there is fastened together the cloak, which merely
covers the shoulders, upper arms and back. Head, broken, but un-
doubtedly its own, bearing a lofty mural crown, under which a twisted
fillet, in the style of a porter's pad {Kvi4>aWov, ToX-q) is visible (cf.
the Messene, A7-c/t. Zeit., 1875, p. 104). This attribute indicates
the general department of local personification to which the statue
belongs. A large tambourine (Tu/xiraroi/) placed on the trunk of
a tree, on which the 1. hand rests, alludes most probably to the land
of the mother of the gods. This is also the explanation of Filippo
Aurelio Visconti {Account, p. 282), for which the nomenclature
" Bithynia" in the explanatory text of the Account and the Engravings
seems to be substituted by mere mistake. New : legs from drapery

INCK ULUXDKI.l, lIAl.l. 43. 351

downwards with ihc pedestal and part of ihc tree, r. arm almost from
the drapery as well as the banner, lastly sundry portions of the cloak.
Marble apparently from Thasos. This statue, found in Hadrian's
Villa, formerly stood in the Villa d'Este restored with ears of corn in
the r. hand as Ceres or Cybele, and was only allowed to be exported
after long negotiations and great expense through the mediation
of the sculptor Lisandroni (1789). H. i'8o according to Clarac,
according to my memory considerably greater. [* JV]

43 (3- P)- Statue of Theseus. Clarac, v. 829, 2071 Q. Engr.,
3. Spec, II. 19. An/t. Zdt., 1874, PI. i (from a Photograph). This
most elegant statue is one of the principal treasures of the collection
and was esteemed by Townley as the best specimen (Spiker, i. p. 400
note). It represents a youthful hero whose body rests for the most
part on the 1. leg, but still so that the r. leg which is advanced in a
freer position shares the weight. A singularly delicate and elastic
movement pervades the quiet pose of the main design, a quality
characteristic of the works of Lysippos, especially the 'Scraper'
(ttTTo^uo/iei/os, destringens se) of the Vatican (cf. Kekule', Die Griippe
des Menelaos, p. 36). All the other characteristics of the statue
answer to the far-famed elegance of the Sikyonian master : the soft
texture of the skin, the large size and the flatness of the feet,
and above all the proportions (determined afresh, as is well
known, by Lysippos), which in every single measurable portion
thereof correspond accurately, mostly to within a centimeter, to those
of the aVo^uo/AEi'os (cf. Arch. Zeit., 1874, p. 25). There can therefore
be no doubt that the statue is to be referred to Lysippos or his
school. There is also little doubt that it is a creditable copy of a
bronze original. In this original, where of course the stem of a tree
which serves as a support might be absent, the impression of light-
ness and grace must have been much more consi)icuous. In the
present copy in marble a support was originally placed against the 1.
leg, as the small antique fragment of the stem on the 1. calf proves.
The remainder of the stem is modern. New also : 1. forearm from
above the elbow. It is highly probable that the arm did not originally
lie on the stem of the tree (an arrangement by which the freedom and
elasticity of the pose is seriously impaired) but carried a cloak or skin
or else some attribute (cf the similar Florentine Statue in Clarac, iv.
635, 1434). New again, besides many small patches, are the 1. knee,
a piece in front of the r. thigh including the knee, r. arm and the
greater part of the club ; the lower part of this, up to about the
hollow of the knee, is old, though completely worked over and, now

352 INCE BLUNDELL HALL 44.

at least, no longer rounded off at the lower end. As to club and
arm the restorer had his way so far indicated with certainty. It
is on the other hand open to question whether in the bronze
original the club was not in an easier position without resting on the
ground, as 1?.^. in the bronze Herakles of Lysippian character in the
Capitoline Museum (Righetti, Campuiog/io, i. PL 35, Clarac, v. 802
E, 1969 B) and the bronze statuette of the British Museum {Miis.
Marbles, in. PI. 2, Clarac, v. 785, 1966). The club might designate
Herakles, were not the slimness and elegance of the figure too great
for a youthful Herakles even by Lysippos (cf Schoene, Griech. Reliefs,
PI. 27, no. 113). There remains then Theseus, his Attic counter-
part, who is undoubtedly represented if the head, which is very
beautiful, belongs to the statue. New parts of head : nose, lips,
chin, a piece of r. brow, on the round so-called Attic helmet the
crest and parts of both griffins. The head agrees so admirably with
the body in proportions, pose and character that one might regard it
as belonging to the statue in spite of the inserted neck and the
different colour of the marble. This opinion is shared by the writer
of the letterpress of the Specimens, but not by Dallaway, no. 4.
Head and body both certainly consist of Pentelic marble, the strata
of which in both cases run in the same vertical direction, but on
the head it looks like white sugar and is traversed by a few dark
micaceous veins ; on the body, on the other hand, it has a bright
yellow hue and these veins are but little visible. To be sure the
body is to a great extent seriously rubbed and owes its smoother
appearance to this fact, while the head, especially the helmet and
back of the head, are less affected by rubbing ; and in fact on the
parts of the body which are not so thoroughly abraded, the 1.
shoulder, the outside of the r. calf and especially on the feet, whereof
the surface has suffered much by rain or some such influence, the
marble presents quite a similar character to that of the head.
Although, then, the original connection of the head cannot be demon-
strated with complete certainty, still it is not improbable; less proba-
ble would be the supposition that in consideration of the size of the
statue the head may have been originally made of a separate piece of
marble. The interpretation of the statue as Ares (Dilthey, Rhein.
'yahrb., Liii. p. 31) is certainly wrong. Waagen's depreciatory judg-
ment (p. 256) is altogether unjust. Found in Hadrian's Villa;
bought from the Villa d'Este, where it stood in the centre of the
saloon. H. 2-035. ['^CU']

44 (49. P). Statuette of a seated man, a philosopher

IN'CE liLUNUKLI, IIAI.I, 45 — 48. 353

probably. Chirac, v. 846, 2134. Eiigr., 29. The man enveloped in
a wide cloak sits in a quiet and very characteristic attitude in a stone
chair, adorned with lions' heads and feet in front, and moulded with
a low back : r. leg far advanced, head supported on the r. hand,
in the style of the Spada Aristotle (Visconti, Iconogr. Gr., i. PI. 20, 2) ;
r. elbow rests on the 1. hand which is laid across it. R. side of
upper part of body not covered by cloak. Head inserted and of
different marble. It is related to the so-called heads of Diogenes.
It is bald, the long beard divided and softly flowing. Expression
thoughtful. New : almost whole r. arm, 1. hand, both feet inclusive
of part of legs and drapery, plinth with lower part of chair.
" Bought from Mr Jenkins in ryyy; it was the first piece of ancient
marble bought for this collection." H. 0-46. [*£CIV]

45 (33- I^)- Group of boy and swan. Clarac, v. 875, 2232
B. Eiii^r., 25. A tolerably big boy, quite nude, stands, with head
inclined in rather affected fashion towards the r. shoulder, close to
a large swan, which stands upright, and is putting a ribbon round
its neck. Boy of Thasian marble. New : r. arm, part of legs, nose.
Swan only fastened to boy's body, but of one piece with plinth and
lower part of boy's 1. leg and also his 1. arm : his r. foot being also of
same piece as plinth. All this of different marble, yet to all ap-
pearance antique, so perhaps an antique restoration. New : swan's
head and neck, and piece of 1. wing ; these parts of another different
marble. The group stood in a temple of the Villa d'Este, from
whence it was bought. H. 070. \*Cll']

46 (36. T). Statue of a Roman boy. Clarac, v. 877, 2236
B. Engr., 27. Enveloped in the toga, doubtless the toga praete.\ta
appropriate to his age, holding with both hands a pet bird to his
breast ; perhaps it is a duck. New : back of boy's head, neck and
nose (face antique), a small portion of the shoulders, both feet, with
corresponding piece of drapery, pedestal, bird's head and neck.
Ordinary work. From the Villa Mattel. H. 0-62. [*]

47 (53)- Statuette of fisherman. Clarac, v. 881, 2243 A.
Engr., 28, 2. A fisherman sits on a block of rock in a short working-
man's tunic (iiwfiL's) ; close to him a basket of fish. New : whole
upper part, head, neck, arms, with upper part of breast. H. 043.

48 (6. T). Statue of a Roman in the toga. Clarac, v. 892,
2278 A. Engr., 6, "Consul, by many called a Cicero." Alon. Mait/i.,
I. 73. An indifferent figure with a toga arranged in not very graceful
folds. R. hand holds a corner of the toga before the breast L. hand
holds a roll. By 1. foot stands the srrinium. The head bears no

M. C. 2i

354 INCE BLUNDELL HALL 49 — 52.

resemblance to Cicero. Hair cut short. Lower part of face recedes.
On the nape of the neck a piece of marble has been left projecting.
Preservation quite perfect; but the statue is probably modern or at
least entirely worked over. H. about i-6o. [*£IV]

49 (24. G). Statue of a youth ("Marcellus"). Clarac, v. 923,
2344 A. Engr., 20, 2. A nude youth stepping forward slightly, with a
small cloak which covers 1. shoulder and the hips, and falls down
over the 1. forearm. R. arm raised. New : r. leg, lower part of 1.
leg, r. arm, 1. forearm with corner of cloak. Head fixed on and
scarcely its own (new : nose). Has long hair, and certainly belongs
to no Marcellus. Indeed it is doubtful whether it be a portrait at
all. Found in some ruins near the Forum of Rome. H. 0-85. [*-5]

50 (G). Portrait Statue ("M. Aurelius"). Clarac, v. 952,
2446 B. Engr., 35. Youthful figure, rather good, nude except for
cloak which covers hips and thighs, and falls down over advanced
1. arm. On the modern neck is placed a youthful head crowned
with ivy, with budding beard. It is too small for the statue. It is
in any case not Marcus Aurelius, but perhaps a portrait of his period.
New : r. arm, 1. with shoulder and part of breast, parts of cloak, feet,
probably also the lower part of 1. leg. " It was met with in a sculp-
tor's yard at London ; but how it came or from whence, could not be
discovered." H. 1-83. [*^[F]

51(515.0). Statue of the elder Faustina. Clarac, v. 955,
2458. Eiigr., 37. The figure is quite enveloped in the long stola
and wide palla which also veils the head and entirely covers the r. arm.
These parts are of black marble, the feet, 1. hand, head and neck of
white marble. The treatment of the hair and the features portray
that empress, though the somewhat sunken eyes do not quite suit a
woman who died so early. Nose injured. Head certainly antique,
so also apparently the rest of the figure. Bought at Lord Cawdor's
sale. H. 170. [*£]

52 (7. P). Female draped statue, with the head, it is sup-
posed, of Julia Pia. Clarac, v. 965, 2482 A. Eiigr.,"]. Of elegant
but not good work, with long drapery and a cloak which covers all
the lower part of the body and the r. forearm, as well as the shoulder.
The statue has been converted into an Urania by the restoration
of both forearms with a globe in the r. hand and a style in the 1.
Head including neck put on but not modern. It has only a general
resemblance to Julia Pia or to the so-called Crispina of the British
Museum (Graeco-Roman Sculpt, no. 34), and displays a beautiful
countenance with a slightly aquiline nose somewhat too sharply

INX'E m.UNDF.Ll. IIAI.l. 53 — SQ. 355

restored at the tip. The arrangement of the hair is not that of
Julia Pia. It is worn in artificial waves in front, and gathered up
behind into a small plait, a loosened tress of hair falling down about
the neck. Beautiful Parian marble. Found in Hadrian's Villa and
bought from the Villa d'Este. H. 1-98. [*£C]

53 (59- y)- Female Statuette in the Egyptian style.
Clarac, V. 9S7, 2588 A, "Isis." Engr., 33, 3. A stiff little figure
in ungirdled drapery clinging close to the body, both legs and both
arms in similarly close connection. The fastening of the drapery
leaves the r. breast free. Of basalt. H. 0^43. [*]

54 (11. S). Statue of a priest of Isis. Chrac, v. 988,
2588 B, " Isis." Engr., 11. Mon. Matth., I. 87, " Sabina Augusta."
When in the Villa Mattei the upper part of the body was still without
any Egyptian attributes and without the vase, both hands were
crossed before the paunch. Hence Winckelmann following the pre-
valent opinion of his time took the statue for a "woman far advanced
in pregnancy, probably a patroness of women in pregnancy and
child-birth," and assigned it to the oldest Etruscan style {Gesch. d.
Kunst, HI. 2, 12. 22. 3, 5). But the head was modern, the body is
decidedly male, and there was a hollow for the vase made in the front
of the paunch. Consequently the statue was restored afresh for
Blundell under the advice of E. Q. Visconti {Afus. Fio-Clem., iii. p.
46 Mil), founded on a relief {Mon. Matth., iii. 26, 2. Mus.
Chiaram., I. PI. 2) and a painting (Pitt, di Ercolano, 11. PI. 60).
The treatment of the drapery is of affected simplicity. Greek
marble. H. i"73. [*]

55 (27. S). Statue of a priestess of Isis. Clarac, v. 991,
2574 D. Engr., 21, "Isis." The statue presents altogether the usual
treatment of drapery, the cloak fastened together before the breast.
New : head and both forearms with sistrum and situla. Mediocre
execution. Greek marble. From the Villa Mattei. H. i'o7. [*]

56 (58. P). Egyptian Statuette, female. Engr., 33, i.
Small figure, certainly female, holding the crook before the breast.
Of basalt. A counterpart to no. 53. H. 0-46. [*]

57 (78). Kynokephalos, in a kind of grey spotted marble, from
the Villa Mattei. Engr., 33, 2. Mon. Matth., 11. 08, i. Cavaceppi,
Raccolta, m. 53.

58 (548). Statue of Egyptian priest, with a broad skirt
about the hips. Engr., 40. Red granite. Nearly the size of life.
Bought at Lord Mendip's sale.

59 (86, in front of the T). A cock. Engr., 43, i. New: tail

23—2

356 INCE BLUNDELL HALL 6o — 64.

and legs. The figure has turned quite green. H. 0-45. Plastic
representations of cocks are rare, see Mus. Fio-Clem., vii. 26, 2. [*]

60 (77). A spar^o^v-hawk. Engr., 43, 2. On the front of
the pedestal there are hieroglyphics. Of black basalt. Found with
no. 30 by La Piccola ; bought from the sculptor Gionelli.

61 (191). Upper part of an Egyptian idol. Eiigr., 45, i.
The figure wears the calantica and carries the crook before the
breast. Small half-length figure in red granite j found in a well at
Trastevere in Rome, when emptied to be cleansed.

62 (338 and 435. P). A cista mystica, with a snake which
has lifted the lid and pushed it a little on to one side and is peeping
out. Head and neck of snake new. Also

Lower parts of the two legs of a statue (colossal scale),
probably of Dionysos, with cloak. Engr., 45, 2. The fragment being
very heavy and unwieldy in one piece, the cista and the feet were
separated ; thus in two separate pieces they are now both in the col-
lection. Thasian marble. H. 0-53. L. of cista 0-35. [*]

63 (545. P). Torso of Aphrodite. E?tgr., 145, 2. This
excellent fragment recals the composition and the fulness of form of
the Capitoline Venus (cf. the replicas in Stark's article in the Berichie
d. siichs. Ges. d. Wiss., i860, pp. 55 ff. Bernoulli, Aphrodite, pp. 226
ff.). It comprises the body from above the navel downwards and the
greatest part of the thighs. On the 1. thigh remains of a junction
indicate the vessel with the drapery ; a retouched place on the 1. side
of the stomach may offer a trace of the forearm. The fragment, found
near the Pantheon at Rome, was formerly much admired in the
museum of the celebrated Baron Stosch (there is a drawing of it in
a volume of drawings once belonging to Stosch in the Grand-Ducal
Museum at Brunswick). Afterwards it was reckoned the most
valuable piece of sculpture in Lord Bessborough's collection. Dalla-
way, p. 385. Parian marble. H. 0-49. [*C]

63 rt (P). Similar torso of Aphrodite. Body from above the
navel downwards. It is on a somewhat smaller scale than the last
specimen, but more of the legs is preserved, the 1. to just above the
knee. Traces of junction of 1. arm are visible on hip and in front
of r. thigh, besides two large relics on the 1. thigh. Very good work.
Parian marble. H. 0-47. [*]

64. Statue of a man, seated. Engr., 146, 2. On a lounging
chair without arms is seated a man whose legs, back and 1. arm are
covered by a cloak, the rest of the upper part of the body is nude.
Missing: head, three quarters of lowered r. arm, 1. hand in the lap

IXCE BLUNUELL IlAI.l. 65 — 70. 357

and the advanced r. foot. There is a hole through the middle of the
paunch. "This curious fragment of ancient sculpture was found in the
river Thames, in its present mutilated state. It is supposed to have
belonged to the Arundel Collection, now at Oxford, and being very
unwieldy, to have been lost in the river at the unloading of it, one of
that collection being missing. It was frequently bare at low water,
and the boatmen finding a heavy stone, got a hole drilled through it,
and by fastening a ring to it with melted lead, it served as a moor-
ing for their small craft. The ring is taken away; but the hole
through the body and the lead remain. The late Mr Banks, sculptor,
hearing of it, and finding it a fragment of ancient sculpture, removed
it to his yard at a great expense. At his death it was bought for this
Collection." The story is related with a little variation by J. Th.
Smith, AWMc-ns and his times, 11. p. 201.

65. Statuette of Osiris. E/igr., 147, i. A very small figure
of the god seated with a large disk on his head. H. abt. 0-12.

66. Bronze Statuette of Aphrodite. Engr., 147, 2.
Quite nude. L. hand before the breast, r. on the tail of a large
dolphin, which is moving away with a Cupid within its coils. H. abt.
o'2i. The style as given in the engraving conveys a thoroughly
modern impression.

67. Bronze Statuette of "Hygieia." Engr., 147, 3. Fully
clad in chiton, and behind the back with a cloak ; head adorned
\vith a stephane. She holds a cup in lowered r. hand. H. 0-20.
"Said to have been cast in the Cinque cento age."

The Account does not notice nos. 64 — 67, but describes the
following specimens which are passed over in the Engravings.

68 (21. S). Statuette of Hygieia. She rests on r. leg; wears
the chiton and is quite enveloped by the fine transparent drapery
which covers the body and r. thigh and is drawn down from the 1.
shoulder to the 1. hand, but generally clings to the body. New:
lowered 1. hand with snake, all the upper part of the body down
from the waist, 1. shoulder, head, r. arm with cup. Bought from
Cavaceppi. H. 077. [*]

69 (25. S). Statuette of Paris. He stands in repose in chiton
and cloak. Pavonazetto marble. Inserted : head and hands of
white statuary. Bought from Antonio d'Este. H. 0-85. Whole figure
unquestionably modem. [*]

70 (26. S). Similar Statuette. Paris leans on a trunk in
chiton and trousers, without Phrygian cap. Near r. foot lies a hound
looking up at his master. Put together of the .same kinds of marble

358 INCE BLUNUELL HALL 7I— 83.

as no. 69 and equally modern. Bought like no. 69 from d'Este. H.

0-83- [*]

71 (35. P). Statuette of"Hygieia." A woman m chiton ;
cloak fastened on r. shoulder runs down slantwise over breast and
covers body as far as below knee. New: both forearms with cup and
snake, half lower part of legs, and neck. Head an old Roman por-
trait of first century a. d. New. nose. H. 0-57. [*]

72 (50). Statuette of a Consul seated, with modern head of
Trajan. In composition the figure answers to the statue in Petworth,
no. 15, e.vcept that the cushion is less deeply quilted. Found on
the Monte Mario and bought from d'Este as a companion to no. 44-

73 (61). Bronze Statuette of Bacchus, with a vase in one
hand, and grapes in the other. Said to be antique.

74 (72. P). Statuette of a sleeping Cupid. Head supported
on 1. hand, r. on the torch. A lizard at the feet. Along the top of
the crown the head is brushed up into a sort of plait. New:
Cupid's r. foot, lizard's head. Greek marble. L. 0-48. ["']

75(79). An Egyptian idol, in form of a bird. Grey basalt.

From Egypt.

76 (80). Figure of Isis, as appears from the drapery usual
to her, and from the attitude which the figure stands in, with one
foot before the other. It holds to its breast, what appears to be corn,
or some kind of fruit. In good preservation; bought out of the
Capponi palace.

77 (85)- Tigress lying down ; in a very hard grey spotted
granite. Found with two Egyptian vases {Engr., 146, i. 3), m a
vineyard near the Porta Portese.

78 (87. P). A hare ; bought from the Villa d'Este.

79(88). A four-legged griffin ("chimera"); bought from
the Villa Borioni.

80 (89). Figure of a soldier, singular on account of his
arms and attitude. Bought from the Villa Borioni.

81 (160. P). Statuette of Diana, in the character of Hecate,
with a veil behind her, holding a lighted torch in her hand. Antique :
only the upper part of the body and almost the whole of the drapery
floating in an arch behind the back. New : head and neck, r. fore-
arm with torch, 1. with corner of drapery and all the lower part of
the statuette. Bought from Cavaceppi. H. 0-56. [*]

82 (517. P). Statue of "Nemesis," i.e. of Artemis originally.
A very long stiff figure, 1. leg slightly advanced. She wears a long

INCE BLUNDELI, HAI.I. 83 — 89. 359

chiton, which in front falls down before the legs in two points with
zigzag folds. New: lower parts of legs, lowered r. forearm with a
staff, r. arm bent upwards before the breast, r. breast and 1. shoulder.
Head old (nose new) and worked in a similar stiff style of affected
archaism. It had a crown ((rrei^ai'os) on the brow ; still it cannot
originally have belonged to this body, because the tresses of hair
on the two parts are worked quite differently. Bought at Lord
Cawdor's sale. H. i-24. [*]

83 (541. T). Fragment of a Nereid, the legs without the feet
covered with drapery, sitting sideways on a hippocampus which is
badly restored on the head. Much broken. Decorative work.
"Venus sailing on a sea-horse," bought out of the Bessborough col-
lection. Original L. abt. i-oo. [*]

Busts.

The Engravings contain the following busts.

84 (90. T). Hadrian. Engr., 46 (and 55, from a bad drawing).
Mon. Matth., 11. 16, 2. A beautiful bust, with paludamentum on r.
shoulder; the sword-belt is wanting in the latter drawing. Query, is
only the head antique? From the Villa Mattel.

85 (91. T). Septimius Severus. Engr.,i,'i. Mon. Matth., 11.
30, I. Pupils indicated. From the Villa Mattei.

86 (92. T). "Otho." Engr., 48. Mon. Matth., 11. 14, i. This
head encircled by a wreath is explained by Venuti as Elagabalus,
by Amaduzzi as Otho. It excites in Bernoulli suspicion of a modern
origin. From the Villa Mattei. \B\

87 (93. T). "Claudius Albinus." Engr., 49 (very inac-
curate). Alon. Matth., 11. 27, 2. A good bust, wrongly named,
although of his period. From the Villa Mattei. \B\

88 (94. T). "Cicero:" falsely so called. Engr., 50, i (bad).
The bust is draped with a toga, and hardly belongs to the head, of
which the profile, unfortunately, is mostly new. Still a very interest-
ing head : the elderly eyes very vividly represented; abundant hair.
Found in some ruins in Rome by an adventurer in canvas, from
whom it was bought. [j5]

89 (97. P). Augustus. Engr., 50, 2 (bad). A good head to
which it is doubtful whether the breastplate bust belongs. It por-
trays the Emperor as somewhat more youthful than the celebrated
Vatican statue from Prima Porta {Mon. delC Inst., vii. 84). Bought
from Volpato, who found it in one of his excavations. \B'\

360 INCE BLUNDELL HALL 90 — 99.

90 (105. P?). "Antoninus Pius." Engr., 51, r. Judging
from the ihawing the name is incorrect. Beard slightly curly,
hair falling in curls on the brow. The head turned a little r. rests
on a nude bust with the junctions of the arms. Found in some
ruins near Albano. [i?]

91 (108. T). "Marciana." Engr., 51, 2. The hairdress
forming a truncated cone constructed of plaits, places the bust in the
time of Trajan, but it is not Marciana. Fine Greek marble. Found
at Ostia, and bought from Cavaceppi. [/>]

92 (165. P). Seilenos. Engr., 52, i. The bald-crowned head
with an ivy wreath is singularly softly treated, mouth opened.
New: 1. ear, nose, smaller details. Bought from the Capponi
palace. [6']

93 (107. T). "Didia Clara." Engr., '^2, 2. Very well pre-
served head of the beginning of the third century having the hair
arranged nearly like that of the lady whose name it bears. Pupils
e.xjjressed. Bought from the Villa Borioni. [-5]

94(130. P). Omphale. Engr., 52, 3, " lole." Female head
with mouth slightly opened. The lion's skin serves as a veil.

95 (109. P). Portrait of a Roman Lady, with a fillet on the
hair and a stephane ornamented with relief work. Engr., 53,
" Ariadne " (gives a thoroughly false impression). \^B\

96 (no. Pict. Gall.). Terminal bust of Dionysos. Engr.,
54, I. Youthful with long hair, thick wreath of grapes and broad
fillet on brows. The head, especially valued by Blundell on account
of its softness, belonged to Gavin Hamilton ; it was bought from
Volpato. [*]

97(126). Terminal bust of Herakles. Engr.,e^\,2. Bearded,
adorned with wreath of vine-leaves and broad fillet. " There is a
jjcculiar dignity and something inspired in the features. The ears,
formed like those of an athlete, stand off from the head. The execu-
tion of the flesh parts is careful, while the hair and beard are little
more than expressed. Modern : a part of the nose, the bust part
almost entirely ; some of the curls are knocked off." Found on the
Lavinian road ; bought from Carlo Albaccini. [ W~\

98 (549. T). Marcus Aurelius. Engr., 55, 2 (very bad).
A good portrait. I'uiight at Lord Mendip's sale. \B'\

99(117. T). '' Scipio." Engr., 56 (pretty good). Head en-
tirely bald, without representation of a wound, has a mouth quite
difi'erent from the usual heads of Scipio (cf. Castle Howard, no. 31),
yet has some relation to them. [5]

IN'CF, lU.l'XDKLL HALL lOO — I lO. 361

100 (118. 'J'). "Cicero," wrongly so called. Engr., 57, 2.
This head, also quite bald except for a faint delineation of the roots
of the hair by the chisel, equally reminds one of the heads of Scipio
even in the wrinkles at the back of the neck, without however being
identical with them. Found near Naples, and privately brought to
Rome with no. 152. [/>']

loi (115. P). "Caesar." Engr., 57, 3. This head, with
powerful straight nose and fairly thin cheeks, recals Augustus rather
than Caesar, but has the eyes too hollow and hair too thin. Bust
completely preserved, but of doubtful genuineness. [S]

102(114. T). "Sappho." Engr., c^i, 1. Spiral curls fall down
all round the neck. Found on the Via Praenestina. [i>]

103(179). Portrait of a young man. Engr., c^&, 2. Beard-
less, with earnest expression.

104(120. P). "Julia." Engr., i,!), 1. 66, 1. Portrait of a Roman
lady of the time of Vespasian. The hair forms a kind of high diadem
of curls above the brow, behind it forms a wide mass of plaits.

105 (171. P, ante-room). The "Grecian Youth." Engr.,
59, 2. An ideal head with hair in long curls, taken up over the
ears through a broad fillet. Bought from Cavaceppi.

106 (152. P). Hermes. Engr., 60, i. This pretty, delicate
head represents the god as very youthful, with curly hair and a
winged cap. The expression of shrewdness is excellent. New:
bust. Bought from the sculptor Boni. [C]

107(129). "Flora." Engr., 60, 2. The head, which is crowned
with flowers, is like well-known heads of Muses. It came out of the
Villa Negroni, and was bought from Jenkins.

108 (150. P). Isis. Engr., 60, 3. A good replica of the
Vatican head {Mus. Pio-Ckm., vi. PI. 17, 2), with a pleasing inclina-
tion of the head ; over the brow the lotus-like knot of hair ; otherwise
without attributes. New: nose and bust. Found in the ruins of a
magnificent villa in the Tenuta di Salone (compare no. 30). [C]

109 (132). The elder Faustina. Engr., 61, i, "Sabina," a
folse description. New : lower part of face, and bust. \B\

no (192. P). " Seneca." Engr., 61, 2. This beardless head
with somewhat coarse but not distorted features has nothing in
common with the ordinary so-called heads of Seneca (cf. Holkham,
no. 36). It belongs to a man about sixty years old; with hair still
abundant and fairly smooth, stern look, brow lightly furrowed, mouth
somewhat opened and with its comers tending downwards. A cer-
tain general similarity in character to such heads as that of Pouipey

362 INCE BLUNDELL HALL III — II8.

in the Spada palace (Visconti, Iconogr. Rom., i. PI. 5, i. 2) or of
Cicero in Madrid (cf. London, Apsley House) seems to indicate a
Roman of the last century of the Republic, a statesman or author.
Other replicas of the head are not known. New : nose, 1. eye-ball,
part of chin, ears and bust. Of good, somewhat feeble work-
manship. [j5]

111 (146. P). Double terminal bust. £ngr., 62, r. A
bearded and a youthful head each with a curious round helmet
decorated with horns; before the ears towards the youthful head a
ram's head at each side. This unpleasing specimen (cf Gerhard,
Ant. Bildwcrke, PL 318) aroused no suspicion in Conze's mind.
New : bust. Found in some ruins at Tivoli ; bought from Pacetti.

112 (226. T). Double terminal bustof a man and a woman,
the latter with a raised crown of curls over the brow. Engr., 62, 2.
Its present position forbids an accurate examination. Bought from
Cavaceppi. [.5]

113 (143. P). Sleeping boy, in a cowl {cuadlus). Engr., 63, i,
" Telesphorus." A most charming head, on a modern bust, probably
belonging to a statue such as that given by Clarac, iv. 882, 2247 D.
One often comes across similar specimens in museums. Found at
Albano; bought from the Borioni Palace. [CTF]

114 (156. Pict Gall). Youthful Herakles. E?igr., 63, 2.
The boyish head with long curls is covered by the lion's skin. Greek
marble.

115 (151. P). Terminal bust of Homer, small scale. Engr.,
64, I. The blind minstrel is represented with bald forehead and
a small fillet round his head. Too narrow and high in the pro-
portions. Conze describes nose and bust as modern. Bernoulli
doubts the genuineness of the whole. [^C]

116 (144. P). Vitellius. Engr., 64, 2 (rather bad). Ber-
noulli thinks this little head less suspicious than most other copies.
" Very animatedly conceived and careful." [j5 JF]

117 (128. P). Head of a youth, small scale. Engr., 64, 3,
" Hercules." This little head with a fillet entwined in the hair which
seems to designate a victor, recals in expression and style of art
the sons of Laokoon : eyes deeply sunk. New: bust, back of head,
tip of nose. Found at Lunghezza on the Anio. Cf no. 163. [C]

118(145). Portrait of a female. Engr., 65, "Iphigenia."
The headdress is distinguished by an extraordinary abundance of
tresses. Bought by Mr Thorpe.

INCE BLUNWKI.I, IIAI.I. IIQ — I 24. 363

119 (F). Terminal bust of a woman. Engr., 66, 2, " Isis."
Double row of curls and stephane over the forehead, hair falling far
down on the shoulders. New: back of head and bust. [C]

120 (147. P). Aphrodite. Engr., 66, 3. Pretty little head,
inclined sideways, with yearning expression; carefully executed.
New: nose, hair for the most part and bust Found at Lunghezza.
Bought from Volpato. \_CW\

121 (172. P). Poseidon. Engr., 67, i (unusually bad). AI071.
Matth., n. PI. 1,1, ''Jupiter Pluvius" (still worse). The small eyes
(eyebrows not indicated) are deep sunk. The forehead more broad
than high, very prominent towards the temples, reveals the capacity
for wrathful excitement, but the whole effect is noble, and appropriate
to the brother of Zeus. The cheeks are somewhat drawn in. The
flowing hair falls down a long way behind. The rendering of the
madida barba is of particularly good character. New: nose, lips,
part of mustaches, hair over forehead with two fishes, which are as
yet absent from the engraving in the Moii. Matth., and were there-
fore no doubt added by Cavaceppi. Breast and shoulders antique,
cut away to make the bust. From the Villa Mattel ; bought from
Cavaceppi. H. 0-40. L. of face about o '20. \^C~\

122 (149. P). " Commodus." Engr., 67, 2, "Aelius Caesar."
Mon. Matth. ir. PI. 26, i, "Commodus." The head resembles that
of the Vatican statue in the Braccio ntiovo, no. i {Mtis. Chiaram., 11.
PI. 41), the reference whereof to Commodus P)ernoulli thinks open to
doubt. Pupils indicated. \B\

123 (157. S). Terminal bust of a water-god, colossal scale.
Engr., 68 (bad). The head of noble design, though of tolerably
broad decorative execution, is very effective owing to the tangled
hair, erect over the forehead, the opened mouth, and the exaggerated
expression of the features. Scales cover the junction of the flowing
beard with cheeks and chin. Satyr-like ears indicate the connection
of the train of Neptune with that of Bacchus. Brows and pupils not
rendered. New : nose, breast with lower part of beard : 1. cheek is
patched. Marble with grey spots seems to be from Lower Italy.
From the Villa d'Este, where the head is said to have served as an
ornament to a fountain, but a water-spout through the mouth has
never been perforated. H. of head about 0-90 from top of fore-
head to bottom of beard. W. of head o-6o. H. 1-17. [*/^]

124 (158. T). "Claudius," colossal scale. Engr., 69, r. The
he.ad certainly does not represent that emperor. So much renovated
that identification is difficult. Found in some ruins near the Pala-

364 INCE BLUNDELL HALL 125 — 131.

tine Hill. This and no. 125 were bought from Ant. d'Este.

[^]

125 (159. T). " Domitian." £>igi'; 69, 2. Dimensions, state
of renovation, seller, same as for no. 124. [^]

126(163.8). Terminal bust of Ammon. Engr., ^o. Head
encircled with Bacchic fillet has a gloomy indolent expression, and
belongs to the class of heads with ram's horns " which have never
dreamt of Olympus and long for nothing better than license to move
in the Bacchic thiasos" (E. Braun, KunstvorsteUuiige7i d. gefl'ug.
Dionysos, p. 5. Jahn, Arch. Aiifs., p. 82. Lauersforter Phakrae,
p. 10, cf. Overbeck, Griech. KimstmythoL, 11. p. 282). Work rather
superficial. New : nose, ears, curves of horns, neck, and breast. It
was found at Nettuno and once belonged to Cardinal Alex. Albani.
It was procured by Cavaceppi in exchange for some other marble,
and was bought from him. H. 0-45. L. of face o'i8.

127 (189. P). Bearded Bacchus, in hieratic style. Engr.,
71, I, "Jupiter." As the upper part of the head with the modius
and also the bust are new, there remains a crowned Dionysos of
stiff, affected style. Guattani found the bust in possession of the
sculptors Alessandroni and d'Este and published it with a short
notice in his Aloiiumenti Inediti, 1788, Nov., PI. 2. \C\

128 (336. P). Sun dial. Engr., 11, 2. Guattani, Mon. Lied.,
1787, Apr., PL 22. Below the cavity a sort of medallion portrait
bust is introduced, said to represent Berosos, which certainly
belonged originally to the dial ; as in Guattani's work, neither in the
plates nor in the accompanying text is there a trace of this bust to be
found, he probably had in mind another copy. The long bearded
head is covered with a cap. Found in Palestrina (Praeneste). For
other examples, cf. Marquardt, Handb. der rdm. Altcrth., v. 11. p. 373.
(The pedestal with inscription and relief is new ; the latter is taken
from the Corsini silver vessel, Winckelmann, Mon. Ined., PL 151.
Michaelis, Das Cor sin. Silbergefiiss, PL i.) [*C]

129 (190). Ariadne? Engr.-ji, 3, "Juno." Guattani, J/(?«.
Ined., 1788, Nov., PL 3; he found the head with no. 127 which it
resembles in the studied simplicity of archaistic style. Female head
with smooth hair falling down a long way on the forehead and
neck and a stephane.

130, 131 (212, 213). Two tragic masks, colossal scale.
Engr., 72, I. 2. The first is female with long, smooth hair without
onkos ; the other female as well with curls at the sides and a thick
wreath of flowers entwined by a fillet which comes low down towards

INXE HIU.NDF.I.I. UAI.L 132— I4I. 365

the mitldlc of the forehead in parland fasliion, and has an end hanging
down on each side. From the Villa Negroni ; bought from Jenkins.
H. o'gi.

132 (305). Mask of a river-god. Eitgr. 72, 4. Beard and
hair in curly waving tresses, scales fringe the cheeks and the upper lip
against the beard.

133 (182. T, in the pediment of the portico). Mask of Medusa,
colos.sal scale. Engr. 73. Mon. Matth., it. 85, 3. Powerful head
with pupils and slightly opened mouth, encircled by abundant hair,
with a toi>knot on the crown ; no snakes. Found in the artichoke
grounds of the gardens of the Mattei Villa, whence it was bought.
Parian marble. H. about o'go.

134 (209). Tragic mask. E^igr. 74, 2. Mouth opened
wide, pupils very deeply cut, a wig formed of parallel tresses hangs
down over the forehead and by both cheeks. From the Villa Altieri.
H. about 0-90.

134a (210). Tragic mask, companion to no. 134, from the
same villa.

135 (300). Mask of Medusa. Engr. 75, i. Snakes are
entwined in the hair and surround the cheeks ; the mass of wide-
spread hair is of so singular a shape that a doubt of the genuineness
of the whole or a suspicion of serious renovation is unavoidable.

136 (211). Comic mask, Engr., 75, 2. The bearded mask
has an open mouth and is peculiar for the singular depth to which
the brow is drawn down between the eyes. From the Villa Mattei.

137 (525- P)- " Sokrates." E/igr., 76, i (unsatisfactory,
over-compressed in the proportions). Certainly not Sokrates, but an
unknown philosopher with long beard, with thin hair, hardly more
than indicated by scratches with the chisel, so that he appears
almost bald. Mustaches cover the whole mouth. Pupils expressed.
Purchased at a sale at Mr Christie's (see on no. 221). [.5]

138 (229). "Euripides.'' Engr., ^6, 2. Bearded, curly-haired
head which has as little to do wiih Euripides as with Pertinax to
whom it has been ascribed by others. The head is not finished. In
many places on beard and hair can be still observed the points and
chisel-marks which have been left during the working out of the head
from the marble. [i>]

139 (98. T). Vespasian, colossal scale. Engr., 77, 2. Head
unfortunately much restored. Bought from Volpato. \E\

140, 141 (T). Two heads with long beards. Engr., 77,
I. 3. Brow lofty, eyes deep sunk, cheeks thin, expression earnest.

366 INCE BLUNDELL HALL I42— 150.

On the whole the features rather convey the impression of late
Roman portraits than of barbarians. " It is ascertained from good
authority [?] that these two ancient heads were taken off Constan-
tine's arch at Rome, and that they belong to statues of some of the
kings of the captive slaves on that arch. They were bought at
London."

142 (not identical with no. 102). Female portrait. Engr.,
145, I, " Sappho." The long roll of hair is encircled once behind by
a broad fillet.

143 (164). " Livia." Engr., 145, 3. Head with abundant hair
and a stephane adorned with relief-work. From the Villa Mattei.

144 (122). "Julius Caesar." Engr., 149, 2. The desig-
nation is false. On a modern draped bust of white marble stands
the red porphyry head with flat, bald crown and large back of
head ; nose aquiline. In perfect preservation, but according to
liernouUi probably entirely modern. "Bought in London at a sale of
the Duke of Buccleugh's effects many years ago " (see Dalkeith).
[BIV]

The following busts given in the Acroi/nt are not represented in
the Engravings.

145 (95). Apollo. The hair is dressed in a singular manner,
forming a kind of diadem. In the features there is a mixture of
female grace and softness.

146 (96). " Muse," so called from the chasteness of the drapery.
Formerly in the Barberini palace ; bought from Cavaceppi.

147 (104). " Augustus," in fine Greek marble. The head was
found near the Via Appia, and the bust near the tomb of Caecilia
Metella. Both of them fitted together so well in all parts, as to
be thought to have originally belonged to each other. Found by
Volpato, from whom they were bought.

148 (106. S). " Claudius," or more likely a portrait not of
Claudius himself but resembling him. Profile restored. " Found near
Lacus Gabinus," i.e. presumably in Lunghezza (cf. no. 117).

[^]

149(111). Terminal bust called Pompeius. small scale.

Modern face fixed on to an antique back part of head, [i?]

150 (112). " Cato," small scale. Head of an old beardless man
with eyes sunk in, a broad tightly-shut mouth and thin hair on fore-
head. An affinity in character with the so-called Cato of the Capitol
is undeniable. The terminal piece however with the scarcely legible
inscription M. CATO does not belong to the head. [-5]

IN'CK i!LU\in:i.i, iiAi.i. 151, 152. 367

151 (113). Serapis ; a liead of great dignity, with a niodius on
it. Found in some ruins on the Appian Road.

152 (116. P). An athlete. Arch. Zeif., 1874, PI. 3. This
remarkable head has been already noted by VVaagen, who
describes it as a Greek production shortly previous to the time of
Pheidias, or, if not that, a very good imitation ; Conze has added
several particular criticisms. The shape of the skull is unusual. It
is long but very narrow, forming a long slope on the top and thence
falling off on both sides. With this shape the very high and narrow
oval of the face corresponds. Short curly hair, rather carelessly
executed above, carefully in front, reaches down to the neck and
covers the skull and makes the already very low forehead still
narrower. The lower half of the forehead projects a little. The
lower line of the forehead is sharp, and underneath it the long narrow
eyes lie deep sunk especially as to their inner corners. The lids are
sharply worked out, the lower one traversed by a shallow furrow.
Nose very long. Space between nose and upper lip narrow, the
length being given to the tolerably pointed chin ; this is a genuine
archaic trait. The outline of the cheek is sharpened to a correspond-
ing oval. The lower part of the face considerably overbalances the
upper, if not in width, at least in height. A .slight contraction of
the brow, creases at the wings of the nose, and a similar Hne round
the mouth give the expression of a somewhat morose character such as
in a far higher degree is peculiar to the Famese Hera {Man. dell.
Inst., VIII. PL i). The head would appear not to belong to Attic
art, rather to Peloponnesian ; but, compared with the heads of
Polykleitos' Doryphoros (Friederichs, Z>er Doryphoros de Polykkt,
Berlin, 1863), it is more likely an older t)'pe. Kekul^, however,
observes (Kopf des praxitdischen Hermes, p. 12 note i) that there
is a greater similarity between this head and those of Myron ;
unfortunately there exist no casts of the Massimi Diskobolos.
There is another nearly allied head in Florence, in the Palazzo
Riccardi (Diitschke, Antike Bildiuerke in Oberitalien, 11. p. 76, no.
163). Conze referred to a head in the Louvre, which however
according to the engraving given in Froehner's Les Af usees de France
(PI. 37) shows no great resemblance; cf also Cavaceppi, Hacc. 11.
PI. 2, and Petworth, no. 17. The bruised and swollen ear of the
pankratiast comes out a great deal. New : nose, part of r. ear, bust.
The dimensions, with which those of the Dorj'phoros can be com-
pared (Kekule, yahrb. f. PhiloL, 1869, pp. 83 f.), are as follows:
L. of forehead 0-045, °f f'ose 0-07, of face o'iS. W. of eyes, inner

368 INXE BLUNDEI.L HALL 153 — 164.

o'o3, outer o'093. L. from nose to chin 0-07. B. between wings of
nose o'o33. B. of mouth o'045. B. from root of nose to ear o'i33.
H. of head abt. 0-26. Pentelic marble. Found near Naples, and
privately brought to Rome, with no. 100. Bought from Volpato, the
engraver. [* CJF]

153 (119). " Telemachos." " Visconti pronounced this to be
a head of Telemachus ; which he pretends to prove from a medal of
Winckelmann's [Gesc/i. de Kunst, pref ], and confirms it by a print
from another antique medal of Telemachus, which is singular on
account of its having, as this has, a round close-knitted cap."
Bought from Cavaceppi.

154 (123. T). Augustus. " It is doubtful whetlier it be, or be
not, a portrait of that Emperor " {Account). Bought from Cavaceppi.
Probably identical with a pretty little head of the youthful Octavian,
similar in age to the other one from Ostia in the Vatican {Mus.
Chiaram., ii. PI. 26), or the Castellani head in the Brit. Museum
(Graeco-Roman Sculpt., no. 3. Newton, Castellani collection). New:
nose, lips and chin, [i?]

155 (127. P). Bust of a boy, about 7 years old, with restored
snub nose. Good work. [/)]

156 (131). A Satyr.

157 (133). Hermes, with the petasos. Half life size. The
character is dehcately conceived, the profile very beautiful, every
part, especially the curls, carefully rendered. New : a portion of the
throat and bust. Bought from Cavaceppi. [ W\

158 (136). Nero ; a small head.

159 (137). Serapis, with modius ; small alabaster bust.

160 (139. T). Double terminal bust, probably of the
bearded Dionysos and Ariadne. r)Ought from Cavaceppi.

161 (140). Satyr, with a grinning countenance and erect ears.
Rosso antico. Bought by l\Ir Thorpe.

162 (141). "A Grecian priestess," with hair tied up with
a fillet, of serious character. Bought from Cavaceppi.

163 (142). " Herakles," small scale, very like the sons of
Laokoon. Greek marble. Found at Lunghezza. It seems to be a
companion piece to no. 117.

164 (148. P). Terminal bust of Sokrates, with name in-
scribed on the antique terminal shaft. The lofty bold forehead is
rounded in bullet fashion ; the long beard falls down on to the breast
in two separate divisions. Nose somewhat higher than usual, re-
stored tip not snub enough. \B~\

ixcr. BLUxPEi.i, iiAi.i, 165—176. 369

165(153). Terminal bust of the bearded Dionysos? "A
Philosopher. Such figures arc often called Plato; sometimes Hercules
Terminalis." Rosso antico.

166 (154). Similar bust, in Giallo antico.

167(155). "Juno," so called from the diadem. In good preser-
vation. Greek marble. Bought from Cavacepjji.

168 (166. T). Homer. Mou. Matth., 11. PI. 9, 4. The poet is
blind, with aquiline nose, wearing a narrow fillet on the head, and
less advanced in age than most of the portraits of that poet. Accord-
ing to Waagen the action of singing is excellently expressed in the
mouth. New : nose. Bernoulli is doubtful about the genuineness.
{BIV\

169 (167). Dionysos, bronze. Bought from the Villa Negroni.

170 (16S). Ganymedes, so called on account of the beauty of
the figure. Bronze. From the Villa Negroni.

171(169). Portrait, bronze. Found at Orvieto; belonged to the
Negroni collection.

172 (170). Trajan. Face has suffered much by accidents.
Bought from Pacetti. Probably identical with a head on a mailed
bust in the Picture Gallery, the genuineness of which Bernoulli doubts.
For the rest cf. no. 214. [j5]

^73(173)- Hera. Bought from Ant. d'Este.

^74 (174)- Poseidonios. "Visconti maintains this to be a
portrait of P." {Account.) Visconti does not mention the bust when
treating of the portraits of Poseidonios, Iconogr. Grecque, i. PI. 24.

175 (176). "Ariadne." Has suffered much from the injuries of
time.

176 (177. T). Pompeius. "As soon as Visconti saw this head
he declared it to be a testa rarissima di Pompeio Magna; but it seems
to have much stronger features than what are visible in the Greek
medals of him." {Account.) The bust is at any rate allied to the Pom-
peius in the Palazzo Spada (Visconti, Iconogr. rom.,i. PI. 5) and gives
the same growth and cut of the hair, and in general the same shape
of head; still the lower part of the face is more pointed towards the
chin, the eyes less open, the whole character more youthful. (Cf. also
no. no.) Consequently, though the identity of the person is not in-
deed barred, still it is not certain. One may for instance very well
compare the Menander of the double terminal bust at Bonn {Afon. deli"
Inst, V. PI. 54. VVelcker, Alte Denkin., v. PI. 3. Kekule', D. akadcm.
Kunstmiiseutn zu Bonn, PI. 2, i). New: nose and bust. Bjught from
the Villa Borioni. [/?]

M. C. 24

370 INCE BLUNDELL HALL 177 — 179.

177 (178). A philosopher, with a long beard, called a Dio-
genes.

178 (180. P). Portrait. Arch. Zcit., 1874, PI. 4. Called Apollo
on account of several holes, in which gilded rays were supposed
to have been fixed. There can be no doubt that the head is a por-
trait, and one not earUer than the time of Lysippos, as is shown
especially by the expression of individuality and the treatment of
the forehead. The forehead is not particularly high, traversed by two
slight furrows and projecting a good deal at the lower part. Be-
neath the sharply defined brow-line shrewd eyes glance forth a Httle
askance, framed in sharply cut lids. The lower lid is traversed by a
slight furrow, the pupils are slightly expressed. The cheeks form
in front a beautiful oval, from the side they seem tolerably broad.
Upper lip very delicate, the slightly opened mouth very expressive.
Expression of face delicate and spiritual. It is that of a man who
notwithstanding his youth has done and suffered much and is aware
of his importance. Hair somewhat thrown up above the forehead
and falling down on each side in slight curls as far as the ears ; cut
fairly short behind. Behind the coronal of curls a slightly twisted
narrow riband encircles the hair. Between forehead and riband
six deep holes are introduced at regular intervals ; behind the ears
against the neck below the riband there are on each side two similar
holes, and besides these four smaller holes irregularly placed. These
can scarcely point to anything else than the former presence of a
large metal wreath, which suggests a victory, or the honour of a crown
won in some other way. A general resemblance to Alexander the
Great is as unmistakeable as are many divergences, in the hair and
in the bent pose of head. The head in Erbach by which Stark (in
'&\xx%wi^'i, Jahresbericht, iS^f, p. 1595) believed the nomenclature of
Alexander could be supported is essentially different, as Stark him-
self has subsequently conceded (Zwci Alcxanderkopfe., 1879, p. 19).
Most probably some distinguished personage of the Alexandrian
or the early Hellenistic period. New : nose, under lip and chin, 1.
ear, piece of r. cheek near ear, piece of crown of head, neck and
bust; however a slight inclination of the head to its own r. seems to
be established by an original piece of neck under 1. ear. Injuries
on both cheeks. Good, free work, but not deHcately executed.
Parian marble. L. of face 0-175.

179 (1S7). "Alexander," a bust of open countenance and fine
character. Found near the tomb of Caecilia IMetella. Bought from
Jenkins.

iNXK iiLUNi;i:r,i. iiAi.i, i8o — 195. 371

180 (188). "Proserpine," the head-dress, with a close cap,
very singular. Identified as the goddess from the authority of an
ancient Sicilian medal. Bought from Cavaceppi.

181 (193). A small head, called a Venus, in reperino.

182, 183 (194, 195. P). Two boys' heads, with smooth hair
falling on to the face, explained as Gaius and Lucius Caesar. Coarse
work. Bought from Jenkins. "They were found at Lunghezza, in
some ruins of a magnificent building. The Bacchus and Faun pur-
chased by Mr Campbell, were found with these two heads. ..It is not
known where they were found." {Account) [^]

184, 185 (196, 197. P, portico). Two Satyr heads, with small
horns, laughing; exactly corresponding to the so-called Faun of
Winckelmann in Munich. Found in some ruins near the Via Prae-
ncstina. [*]

186(198). "Marcus Aurelius." Mon. Matth., \\.V\. 2\, 2!
Represented in his youth, with his first beard. This bust has been
much fractured ; but the parts are mostly its own. Bought from the
Villa Mattel.

187 (199). A portrait, unknown, of good sculpture.

188 (200). Aphrodite. "This head once stood on that noted
statue of Venus, now in the Chigi palace [with the name of Meno-
phantos, Mtts. Capitol., iv. PI. 68. Miiller-Wieseler, 11. 25, 275]. It
was a patched-up head by Volpato, but not being adequate in merit
to the rest of the statue, another head, more suitable, was found for
it."

189 (201). Faustina. Bought from Cavaceppi. Probably iden-
tical with a modern head of the younger Faustina in the Picture
Gallery.

190 (202). "Hestia," with a veil.

191 (203). A portrait, bearing a strong resemblance to Mr
Thorpe [cf. pp. 100, 334].

192 (;o4). A portrait, of youthful, open countenance.

193 (205- P)- Eros. Head of a statue of Eros stringing his
bow, of which there are many replicas extant. A pretty, tender head
with hair dressed into a plait along the parting of the hair. New :
nose, lips, bust. Otherwise in very good preserv^ation. Parian
marble. Found at Lunghezza. L. of face o'i6s. [*C]

194 (206). Female portrait, by some called a Venus; has
suffered much by time and accidents.

195 (214). Lion's head, found in taking down some ruins of
the mausoleum of .\ugustus. Bought from Piranesi.

24—2

372 INCE BLUNDELL HALL 196— 214.

196(215). "Philippus." "This head is remarkable for having
on the right cheek some Greek letters, denoting it to be a head of
Philipp, king of Macedonia, and father of Alexander"! Bought
from Cavaceppi.

197 (216). Satyr, having a cap or pouch on his head. Bought
from the Capponi palace.

198, 199 (217, 2i8). Castor and Pollux. On each of their
heads are bronze stars. Found near the Lacus Gabinus [at
Lunghezza?], and at the time desired in purchase by Poniatowsky.

200 (219). Satyr, a small head, remarkably fine.

201 (220). A portrait, unknown.

202 (221). Portrait of a boy, with a good open countenance.
Perhaps identical with a head, with hair cut quite short, in the
Pantheon, [i?]

203 (222). "Mars."

204(223). "Ptolemy," with a helmet; so called from the
likeness to other heads of Ptolemy.

205 (225). Two lions' heads, used as key-stones in two arches.
Found near the Palatine hill.

205 a (269. S). Lion's head, of good sculpture; fixed over the
back door of the staircase.

206 (227). Double terminal bust, female, below life-size,
one head of which is named Sappho. Bought from Cavaceppi.

207 (228). "Vestal virgin," with a veil.

208 (230). Terminal head of a Greek poet or philoso-
pher. Very like the supposed Hesiodos in the Brit. Mus. (Gr.-
Rom. Sculpt, no. 119. Mus. Afarbks, 11. PI. 44). The hair stands
out round the brow beneath a tolerably thick fillet, somewhat longer
before the ears. \B'\

209(231). "Ariadne." " This head has suffered so much from
the injuries of time and accidents, that it scarcely deserves that
name"!

210 (232). A portrait, unknown. Bought from the Villa
Borioni.

211 (233). "Ptolemy, so called on account of the helmet,
usual to those heads."

212 (234). Small head of a boy, in bronze. Bought from
the Villa Negroni.

213 (235). Portrait, unknown, in bronze.

214 (410. P). Small bust of Q. Aristaeus, with head fixed
on, and probably not belonging to it, and the following inscription :

IXCE BLUNDr:i,L IIAI.I- 215— 2I.S. 373

D. M. I T. F. Qii. Aristiicv \ Aufcsfortis domino stio | bcncmcrctiti de
sua I ima^inein coiisacnivit. (Genuine?) \Ji\

215(522). "Trajan," "represented in his military habit. Both
the head and chest seem to have suffered by time and accidents.
15ought at Lord Cawdor's sale." Presumably identical with the head
of an older thin Roman, in the kitchen ; hair as with Trajan
combed on to the face, but the proportions of the head more lofty than
with that Emperor. For the rest cf. no. 172. \B\ Waagen, p. 246,
notices in the hall a "Bust of Trajan, of animated conception, but
moderate workmanship; the point of the nose, upper lip, bones round
the eyes, and a part of the ears, are new."

216 and 216 a (542. P. T). Two porphyry heads, on
mailed busts of coloured marble, executed as pendants. By no means
"Marius and Sulla," but emperors or generals. Ridge of each nose
broad and depressed. Hair short, not polished. From the Bess-
borough collection. [/?]

217 (552)- Caracalla. Bought at Lord Mendip's sale. Seems
to be modern. \B'\

The following busts cannot be identified with those enumerated
in the Account.

217 a (T). Beardless Roman, with gloomy look. Hair lying
towards the front and cut off short over the forehead. \E\

217 b (T). Otho, on a bust in one piece with the head, with a
sword belt. Outline of head flat at top and falling towards forehead:
hair combed in this same direction forming waves round forehead.
Profile quite straight. New: the powerful nose. The head seems to
agree with that of the Vatican {Sala dei busti, no. 277 [311]). [-5]

2i7f(T). Head of Philippus Junior(?), colossal scale. New:
1. side. [B]

217 (/(G). Portrait of a Roman, unknown, with smooth shaven
liead, large nose and mouth. Very animated. [/?]

217 e (G). Seneca, so called, of the usual type (cf. Holkham,
no. 36), bronze. Antique? [B]

Under sundry tables in the ante-room of the Pantheon as one
comes from the Picture Gallery stand seven busts, and among them:

217/ Beardless old man, with hair like a wig and restored,
coarse nose. \^B]

Reliefs.

The Ent^ravings contain the following specimens.

218 (S). Let into a tall pillar are two figures in high relief,

374 I^'CE BLUNDELL HALL 219— 221.

sawn out of one relief, Engr., 27. {a) Youth stepping r., enveloped
in cloak wh'ch leaves r. arm and breast free. L. hand laid on cloak,
r. advanced ; forearm and roll restored, as also feet and ground.
{U) Woman dancing 1., enveloped so thoroughly in a wide cloak
that only face and feet are visible: r. arm lowered, 1. supported on
the side. It is a beautiful figure and proportionately popular, being
repeated both in terra cotta statuettes and marble reliefs (Ann.
deir Inst., 1863, PL L. i. Cod. Pigh., no. 99 Jahn = Cod. Coburg.,
no. 77 Matz). — Both figures are prettily and freshly treated. H. o'4i.
Relief raised from field CO 6. Pentelic marble. [*]

219(207). Tragic mask, .£:;?^r., 72, 3. Corner of lid of a sar-
cophagus. An actual mouth is visible through the cavity of the
opened mouth of the mask. (Antique?)

219(7 (208). Fellow mask from same sarcophagus.

220. Front of a cinerary urn, as it seems. Engr., 74, i.
Large wreath, into the space enclosed by which a Medusa head
furnished with snakes and wings is introduced to avert evil influence

(ttTTOTpOTraiOv).

221 (523. P). Front of a sarcophagus, "The Winds."
Engr., 78. Somewhat 1. of the middle of the relief the Sun-god sits
on a rock, quite nude but for a cloak which covers breast, 1. forearm
and part of 1. thigh ; he rests 1. arm on the rock, holding the r.
before the breast (forearm with staff restored). Head, with long
curly hair and antique attachments for a (restored) coronal of rays,
is put on, but is apparently original. At the feet of the god lies
a bearded Water-god of lesser stature, his lower parts cloaked,
leaning on his r. arm, holding a snake (?) in his lap with 1. hand ;
probably Okeanos. Behind the Sun-god 1. follov; the four Seasons
in female form (cf. Ovid, Met., 11. 23 ff.). First comes Spring in
chiton and cloak, with long curls, r. breast bared, r. arm raised,
holding in 1. arm a large stalk of flowers (head and r. hand
missing). Then comes Summer, sitting averted, with nude body,
the cloak covering the legs, back, and 1. arm, on which the figure
is supported ; with the 1. hand she holds in her lap a bunch of
ears of corn. New : lowered r. forearm, also the head, which is now
turned towards the Sun-god. At her feet lie an ox and a sheep
(head missing). Behind Summer stands Autumn fully draped (head
not her own) ; in her 1. arm a branch laden with clusters of grapes.
New : almost all raised r. arm. The figure of Winter brings up the
rear, entirely enveloped by the wide cloak which even covers the
head, and allows the long chiton to be seen beneath. Face much

IN'CE ULUNDELI, llAI.l, 22 1. 375

mutilated. R. arm is hidden under cloak, in 1. she holds a stalk of
reeds. The suite of the Sun-god is completed by a female figure on
his L, which occupies about the middle of the relief. She wears a
chiton, which is slijjping down from the 1. shoulder, and a cloak ; the
restorer has treated the r. forearm as raising a large corner of the cloak
(still absent in the Engravings), without it being said whether this
restoration was indicated by the remnants. As the head is also new
and there are no attributes, the identification of the figure is uncer-
tain. (" Isis," according to the explanation in the Engravings.) R.
half of relief occupied by chariot and four fiery horses of Sun -god,
the latter each held at the bridle by a man who is about to look after
the harnessing. Outside of chariot adorned with reliefs : a Victory
hurries 1. with raised r. arm, and behind her lies a female with her
upper part nude resting her head on the r. arm (a local goddess). Of
the four grooms the first, third, and fourth are of Herculean frame,
bearded and long-haired, quite nude but for a skin which is thrown
over the advanced 1. forearm ; the first and fourth moreover carry a
club on the arm ; as for the third the club is restored, presumably cor-
rectly. Their heads are connected with the background of the relief
by supports ; there is, however, no certain trace of wings. On the
other hand, the second groom, who is for the most part hidden by
the horses, is furnished with conspicuous wings on his head; he is
beardless and youthful, and would be taken for Hermes if the curly
hair did not fall down in such abundance on his neck. On men and
horses are sundry renovations, but nothing to affect their purport,
^.^ccording to Visconti's explanation in the Engravings and in iMtis.
Fio-Clem., vi. p. 45 note. Mil., these "four figures of men with
wings on their heads " are called the Winds ; with regard to which
Matz cites the opening of a hymn to Helios : ^kfpo^fiomqTuiv aviixuiv
iTro-)(ovfx.tvo'i aupais, H\i£ y^pvaoKofxa k.t.X., cf. Miller, Jifi'langes lie
litter, grecque, p. 442, Dilthey, Rliein. Mm., xxvii. p. 405 f.) Quite
at the r. end is Tellus lying on the ground, with upper part nude,
legs and abdomen enveloped in cloak, r. hand lying on a cornucopiae
from which ears of corn hang down. The subject is bounded on
both sides by thin Corinthian columns, between which a tapestry is
stretched over the whole background to indicate the interior of the
palace of Helios, the regia Solis. Greek granular marble. Relief
mostly very high, so that the several figures stand out almost to
lull rounding ; only the youthful groom and Tellus are in low re-
lief. "The history of this bas-relief is rather curious. It was
found at Tivoli. There it was placed in a niche, to ornament a

376 INCE BLUNDELL HALL 222 — 224.

fountain in the garden of the Villa d'Este, from whence it was
bought, 1790. By the continual lapse of tartarizing water, from the
Anio, over it for many years, it was so incrustated that it appeared
no better than an irregular surface, a single figure on the left hand
being the only one distinguishable. When it was brought to Rome,
and cleared of the incrustation, it turned out a very curious poetical
subject, and was so much admired, that the Pope Pius VI. expressed
a wish of its not being taken from Rome, which was a kind of pro-
hibition. In consequence of that wish it was presented to his Holi-
ness [see Visconti, Museo Fio-Clem., vi. p. 45], and in return several
handsome presents were made. The Pope was so partial to it, as to
keep it in his private apartments ; yet, strange to tell ! this identical
bas-relief, a very few years after, was brought to Liverpool on sale,
with forty-five cases of marbles, tables, &c., all pillage and plunder out
of the Pope's palace by the French. These cases, consigned from
Italy to a merchant in London, whose agent had purchased them
from a Frenchman, with the ship, had been taken and retaken in the
passage four times, and at last brought to Liverpool, where the cases
being opened, and not meeting with sale, they were re-shipped for
London, and sold by Mr Christie, in May 1800, when Mr Blundell
gave 260 guineas to obtain again this bas-relief, which did not cost
him ten pounds, when bought out of the Villa d'Este " {Account).
To the same purchase belong nos. 137, 393, 412 and four mosaic
tables {Account, nos. 526, 527). L. 2'o. H. 0-63. \_MIV; the latter
erroneously calls to mind the story of Phaethon.]

222 (i86). Sepulchral monument. Engr., 78, 2. Five
portraits in high relief shown as far as the waist, {a) A woman, 1. arm
round shoulder of {b) a boy with the bulla on his neck; {c) a man;
{d) a girl round whose neck again {e) a woman is laying her r. arm ;
c has a little bird in either hand, a in the r., d in the 1. ; two others
are flying in symmetrical positions close to <:'s head. Inscription
illegible. Bought from the Villa Borioni.

223 (240. G). Front of a child's sarcophagus. Engr.,
79, I. Two winged youths floating, with cloaks, hold symmetrically
the medallion {cliij>cus) with portrait of a boy. Beneath, two horns
of plenty with fruits, crossed, and on each side a panther lying
down with a bunch of grapes in its fore-paws. At each end stands a
winged boy playing on a syrinx, the burning torch turned towards
the ground. I^. half beginning from the medallion, now missing
(once restored ?). Extremely coarse. [J/]

224 (249. S). Slab of a sarcophagus. Engr., 79, 2. A

IXCK BLUNDKLI. IIALI, 225 — 229. 377

vase filled with fruits, grasped by the handle on either side by a
winged youth who lies down, representing a season, with a bundle of
ears of corn on the arm. New : in great part r. arm of 1. figure and
its ears of corn. Bad work. L. 078. 11.0-23. [A/]

225 (332. G). Lid of a sarcophagus. Engr., 79, 3. On a
lion's skin lie two WTeathed Bacchic masks, the one bearded, the
other youthful : close to the latter stands a vase on a pedestal. The
youthful Bacchus lies r., with wreath, half wrapped in cloak ; r. arm
lies on his head, in 1. rests the thyrsos. A nude Satyr with thyrsos
and syrinx lies 1. At each corner a bearded mask of a Pan with
brutish ears hanging down considerably. \M\

226 (411). Sepulchral monument. Engr., 80, i. Three
portrait busts with inscriptions. Quite 1. a beardless man (C. Hel-
'I'i.iis Hermes \ patrotius) pointing with r. hand to a curly-headed man,
also beardless, the founder of the monument {Asckpiades \ lib. fecit),
who stretches out r. hand to his wife, a lady with artistic coiffure
{Arronia Restituta \ coniunx Asclepia\iiis\). Apparently of Trajan's
time. The patron's pupils are expressed.

227(331. P, pediment of portico). Sepulchral monument.
Engr., 80, 3. P'our portraits close to each other, cut out in bust
fashion, (a) Man with beard cut short, (1^) woman with Plotina's
coiffure, (c) older beardless man, (d) woman with hair dressed in
Marciana's style. Time of Hadrian. No pupils. [*]

228 (S). Sarcophagus. Engr., 81. In front in the middle
a slab with the modern inscription D. M. Portiae lustae \ C. Odavius
Firmus (borrowed from Mon. Alatth., iii. 54, i). On each side of
this a garland hung on bulls' heads, in the semicircular fold thereof
a bacchic mask, 1. of a Satyr, r. of a Seilenos. Beneath, four panthers
lying down, the two in the middle symmetrically grouped round
a basket of fruits. On each of the ends a garland. On the lid
wreaths of foliage and at each corner a tragic mask. Bought at the
Duke of St Albans' sale. \M\

229 (341. G). Large oval sarcophagus, seriously renovated.
Engr., 82. A man clad in toga in the middle is modern, except the
legs from the knees downwards and the lower half of the bundle of
books near his 1. foot Next him stands a man with short hair, simi-
larly clad, in 1. hand a roll with the name canteni|vs (pupils ex-
pressed). Then comes a low quadrangular pillar on which stands
a square box shut; above this a bearded attendant is visible in the
loose tunic (ejw/xi's) supported on a staff and with head lying on
1. hand. Near r. leg of principal figure stands a child (new: head)

37S INCH BLUNDELL HALL 23O — 232.

with girdled drapery and boots, holding a semi-cylindrical chest
before his breast ; next a fully-draped matron (new : head, 1. shoulder
and hand), most likely the wife of the principal figure, with a roll in
r. hand on which the letters emilianvs are preserved, but anvs is
inscribed on a joined-on piece (probably modern). Quite 1., next to
an olive tree, stands a matron in ungirdled stola, cloak over head and
back, both arms raised with outspread hands (attendant ?) ; near her
a sheep. Both wreaths near head of principal figure are new. On
either side, where the rounding of the sarcophagus begins, a powerful
lion, with head in high relief, is throttling a horse which it has thrown
on the ground ; a half-moon, an ornament serving for an amulet (cf.
Jahn, Berichte d. sacks. Ges. d. W/ss., 1855, p. 42) hangs round the
horse's neck. Behind each of the lions a beardless man in a tunic
with short sleeves, with one hand lying on his head while the other
holds a curved trumpet, which the man blows. Of the fourth cen-
tury. L. 1-95. H. 0-91. [J/]

230(372). Quadrangular cinerarium. .S;;^/-., 83, i. Two
bearded masks with ram's horns holding a garland of fruit, in the
semicircular field of which, above two birds pecking, is the tablet for
the inscription. Below at each of the corners is an eagle and another
smaller bird. The inscription £). M. Acellio, Sic, was not yet exist-
ing when the urn was in the Villa Mattel {Afon. Matth., iii. 71, 6);
no more were the lid with a wreath on it and the youthful masks at
the corners.

231 (365). Quadrangular cinerarium. Eiigr., 83, 2. Moii.
Mafth , III. 58, 3. On either side an Ionic column with spiral fluting.
In the middle the tablet, with the inscription D. AI. Sestilia D (i.e.
Sc'sf///ae) l{ibc7-td) Secunda; over it two birds pecking from a basket
of fruit, on each side a burning torch, beneath a pediment and a
wreath (?). Lid, in pediment whereof pecking birds are seen round
a basket, not yet to be seen in Alon. Alatth.

232 (342). Oval Sarcophagus. Eiigr., 83, 3. The field for
relief work is divided into five compartments by six columns with
spiral flutings. In the middle a pair of folding doors with lions'
heads (without rings) ; one of the folding doors is somewhat open.
In each of the two nearest compartments, a bearded man in tunic,
pallium, and shoes, stretches out one hand towards the door of the
sepulchre ; the one to the r. seems to be carrying something in his
hand, the one to the 1. wears a bulla on his neck. In each of the
remaining compartments is a woman' blowing the flute, on the 1. with
a head-cloth and the cloak gathered into a skirt about the hips; on the

IXCK HLUNDELL HALL 233 — 238. 379

r. with long curls and clad merely in the stola. They are the neces-
sary accessories of a funeral celebration. The roof-shaped lid is
furnished at its edge with masks, two bearded, four beardless, as
coping tiles (rj-ye/^dves, persotiae); only the third line of the four-
lined inscription, hie situs est, is still clearly intelligible. The unusual
ornaments on this sarcojihagus caused some difficulty in getting
permission to take it out of Rome. L. i "o. [J/]

233 (343). Child's sarcophagus. Engr., 84, i. In the
middle the portrait bust of a boy framed in thick rolled ribbons. On
either side stands a winged boy with chlamys, the one on the 1. with
a branch of blossoms in his r. arm and a small fillet {viroBvfi.i';) in
1. hand between two flowers shooting up from the ground; that on
the r. with ears of corn in r. hand and a sickle on 1. arm between a
basket with ears of corn standing on the ground and some growing
corn. These two representations of spring and autumn stand for the
full round of seasons which are so popular on sarcophagi. On either
side a Dioskuros clad in chlamys, with pointed hat and spear each
leading by the bridle a plunging horse ; these figures encroach some-
what on the sides of the sarcophagus. On the lid two Cupids
riding on dolphins from each side up to a trident which occupies the
middle. At each end a tragic mask. L. 0-84. H. of sarcophagus
0'32, of lid o'li. Bought from Cavaceppi. [,M'\

234 (355). Quadrangular cinerarium. Engr., 84, 2. From
two masks hangs a festoon which frames the field for the inscription
D. M. I Pholoe vernae \ bene merenti \ Rasinia Glypte f(ccit). \ vixit
arm. XVI. d. VII. Beneath each mask a bird.

235 (397). Quadrangular cinerarium. .Cw^r., 84, 3 = 143,
I. 2. Shaped like an edifice built of square stones, with the inscrip-
tion D. M. I Lappiae Primae Jiiliae) \ vix. a. XXXXIII, which being
copied from a different urn {iMon. Malth., iii. 68, i) is evidently
modern.

236 (354). Quadrangular cinerarium. Engr., 84, 3. Un-
important ornaments surround the tablet with the inscription D. M. \
Claudl Rufi I v{ixit) a. XXX di. II.

237 (407). Quadrangular cinerarium. Engr., 85. Within
a rich border of wreaths of foliage is the table with the inscription
Dils Manibus \ luniae M. f Marcellae \ quae vixit ann. XX \ sancte\
lunia luniae I. Privata \ patronae pilssimae \ b. m. de sua. Beneath
an altar of incense {dvixia.-rqitwv), entwined by garlands with two
Cupids ; over each garland an owl.

238 (40S). Cippus. Engr., 86. The inscription reads D.

380 INCE BLUNDELL HALL 239—243.

M. I T. Aurelio ATa7i\suetiiio cqiiiiti) stng{ulari) | A!ig{ustt) tur{ma)
Lucania\na, nat{ione) Noriats, \ vix(it) an(nis) XXV, mil{itavit) \
annis VII. \ P. Aeliiis Lucanus ceiiturio \ legiionis) VII C(laudiae)
her(es) fac{ie7tduni) cur(avif). Below, the dead man in short coat
with spear, going behind a horse with long saddle-cloth, which he
leads by the bridle. Below, two boys bearing a garland, in the
semicircular field thereof a Medusa's head.

239 (409). Gravestone. Engr., 87, i. Girl lying on bed
fully draped, close to her a pet dog; next stands a Cupid offering her
a wreath. In lower part of field a low table with two vessels (?),
and the inscription Valeria M. f. Prisai, | vixit dclicatisiima ami.
XXIII. I mater filiae fecit.

240 (376). Double cinerarium. Engr., 87, 2. 3. Two swans
standing each on a balaustium hold at the corners two festoons laden
with fruit, which are being grasped in the middle by an eagle. Eight
smaller birds disposed symmetrically. On the tablet to the L is
Claudiae Aug. I. \ Quictae, \ hie sita est, on that to the r. Ti. Claudius
Quiriyiiia) I Plolo filio, \ situs est. (The inscriptions are presumably
spurious.) On the sides a garland held by the swan and a bearded
mask with ram's horns; below the latter, an eagle; inside the garland,
a swan. On the lid a wreath and unimportant ornaments. From
the Villa Mattei {Mm. Matth., 11. p. 131).

241 (237. P). "Candelabrum." Engr., 88, i. 2. Mon. Matth.,
I'- 75i 76, where however the lowest part and the top piece are still
wanting. A baroque enough composition of akanthos flowers and
grapes, bordered on one side by a youthful tragic mask crowned
with ivy, on the other by a Seilenos mask with a wreath. The utensil
seems antique, though seriously renovated. From the Villa Mattei.
H. 0-78. [*]

242 (289). Side of a cinerarium. Engr., 88, 3. Medusa's
head above a rich garland of fruit.

243 (238. G). Lid of a sarcophagus. Engr., 89, i. Bacchic
figures, seven lying down, one kneeling; on the 1. three half-draped
Maenads, first two with thyrsos, the third glancing round after a
youthful Satyr who holds a syrinx (?) in his r. hand. Then comes
a bald-headed long-bearded Seilenos lying on his belly, with a cup
in his 1. hand, into whose mouth a kneeling female is about to pour
wine from a drinking horn (puroV). To the r. a half-draped woman
lying opposite a nude Satyr, who holds a goblet and a cup in his
hands. Elegant sculpture. L. i'i5. H. o'ii5. Procured at
Rome by Mr Thorpe, in exchange for a microscope. [*-'^/]

INCE BLUNDELL HALL 244—246. 381

244 (246). Lid of a sarcophagus. En::;r., 89, 2. Hunting
scene. From the 1. three attendants carry on their .shoulders a
mighty net rolled up, the two hinder men carry stakes, the foremost
leads a large baying hound in leash. Before them goes a bearded
man with a stake, the master or an overseer, and seems to beckon
them on. Then follows a double fence with nets stretched round it,
therein are 1. two boars, r. two stags with heads reaching out over net.
R., a figure similar to that of the overseer; face rubbed away. At
either end a wall. L. 2'05. H. 023. S^AP^

245 (404. S). Lid of a sarcophagus. Engr., 89, 3. The
Seasons. In the middle a tablet with the inscription D. M. \ L.
Aurdil Aufidi \ M.f. {i.e. perhaps Aufidi\ani as Wilmanns conjectures),
vixit annis \ septuaginta. On either side a mask. In the two fields
thus bounded lie four winged boys as representatives of the seasons
with a small winged boy each as companion. L. : Summer, upper part
nude, with a sickle (?) on r. arm, 1. hand resting on a basket full of
ears of com, which the smaller boy holds; opposite is Spring, partly
restored, with a basket of flowers (?), and on 1. arm a shoot full of
leaves. R. : Autumn in half-loosened tunic, a shoot with vine-leaves
on r. arm, and with a basket full of fruits; opposite is Winter with
sleeved tunic, cloak and Phrygian cap, likewise with fruit in his basket,
and a stalk of reeds on his 1. arm. R.ough work. L. 2'o7. H. o'2i.
[J/]

246 (239. P). Front of a sarcophagus. Engr., 90. L. end of a
Kalydonian boar-hunt (not given in Matz, Ann. delP Inst., 1869, p. 76).
In background rich foliage-work indicates a forest. Quite I. a youth
with chlamys and spear; next a second youth with sword on arm
leading a horse by bridle. Before him a youth in the usual attitude of
Meleagros, nude but for a small chlamys over 1. shoulder and boots,
hastening forward with brandished spear (spear, 1. hand and r. arm
correctly restored) ; between his legs a hound. Before him a youth
in chlamys, the sword in 1. hand, once probably brandishing a stone
with r. hand (new ; head and r. forearm). Further r. a mounted man
in tunic and chlamys, treated as principal figure, pretty extensively
restored; a hound at his feet Underneath the horse lies a wounded
man (Ankaeos), nude, lifting cloak with 1. hand (cf Zoega, Bassir.,
PI. 51); near him a figure with short drapery, apparently female
(Atalante) with bow ; lastly remains of a youth in background, the
greater part of whom together with the rest of the relief is restored.
Probably the boar came here. Below the relief a rich decoration of
foliage. The sarcophagus in its whole character recalls the Hip-

382 INCE BLUNDKLL HALL 247—249.

polytos sarcophagus of the Campana collection, now at St Petersburg
{Mo>i. dell' Inst., vi. i — 3), and that at Girgenti. Bought from the
Villa Borioni. [*J/]

247 (241. S). Front of a child's sarcophagus. Eiigr.,()i, i.
Cupid's chariot-race. Four bigae, moving r. Under second pair of
horses a Cupid lies on the ground, while another on a single horse
rides close by; horses of third chariot in confusion, the driver
stoops over them. R. and 1. in background very flat indications of
an architectural design. Rough work, apparently not finished. \JII'\

[247 a (24S. S). Lid of a sarcophagus. Eiigr., gr, 2. Boys
playing at nuts and ball. Modern copy, as Accmmt states and as
Brunn also, Attn. dcW Inst., 1857, p. 142, correctly recognised, of a sar-
cophagus in the Mattel collection {Mo7i. Matth., iii. 36, i, Annali, I.
cit, PI. BC). Pentelic marble. L. 067. H 0-23. [*MJV]]

248 (242. S). Birth of Dionysos. Engr., 92, i (reversed
copy), "Birth of Hercules." The latter interpretation rests on Vis-
conti's explanation of the very similar relief, Mus. Pio-Clem., iv. PI.
37, which however is very doubtful (cf Zoega in Welcker's Zeitschrift

f. alte Kunst, p. 402); it is rather to be corrected by our reUef, the
interpretation of which is supported by the companion piece no. 249.
Semelb lies on a bed, with closed eyes, the nude arms hanging down
limp, no mere newly-delivered woman but a corpse. Near her a
vessel perhaps meant for a bath. Behind the bed three females
busied with the new-born Dionysos. The middle one holds him in
her arms, a second on the 1. lays her hands on him protectingly,
the third on the r. shows by a gesture her astonishment at the
babe. Behind her, quite at r. end, Hermes enters with winged
petasos and caduceus to carry away the babe and bring him to his
father Zeus (cf the relief in the Pio-Clementine Museum and Ste-
phani, Compte-Rcndu, 1861, pp. 11 ff., Miiller-Wieseler, 11. 34, 392).
In the background a tapestry hangs up to indicate the interior of the
chamber. Quite 1. in the front at foot end of bed a woman hurries
out, richly draped in chiton and cloak with diadem on forehead
(o-Tt^di'T;), looking back at Semele with a proud, scornful expression ;
no doubt Hera, who triumphs over the death of her rival. Her
raised r. arm with the whole 1. end of the relief has been cut off and
entirely lost. The companion piece is the following :

249 (243. S). Triumph of Dionysos. Engr.,g2,2, "Triumph
of Ariadne." In this also a curtain hangs up in the background.
From the 1. comes Dionysos, standing on a chariot, with long curls
and wreath, in long sleeved chiton with fawn-skin girt over it slant-

INCE IILUNDELL HALL 250—253. 383

wise, stout thyrsos on r. arm. Holding reins in 1. hand he drives the
two lionesses or panthers which draw the chariot. By the god stand-
ing on the chariot a young Satyr with thyrsos and the winged Nike;
with palm branch. Near the chariot a Maenad moves r. with thyrsos
and tambourine (rv/i^ravor) ; 1. three female companions, of whom the
first, next the chariot, plays on the double flute, the second shakes
what are probably castanets (xpoTaXa) or cymbals, the third seems to
carry a cista with phallus. Before them goes the goat-legged Pan
with pedum. Remains of at least one more female figure are still
distinctly preserved; r. end of relief totally lost. Upper r. corner has
been broken off but is genuine. Both pieces, nos. 248 and 249, are
remains of larger compositions. They are now o'64 high, o'S7
broad. Composition generally very noteworthy, and in some par-
ticulars excellent, though not of specially good execution. Bought
from the Capponi palace. [*CMIV]

250 (245. S). Nike. i:/!gr., 93, I. AynaWiea, iii. PI. 5 (C. O.
Miiller). Only lower r. corner antique : legs of goddess as far as
up to the swell of the nates, tip of wing, lowest end of snake, greatest
part of coat of mail and shield. All the rest new. The fragment, in
hieratic style and low relief, belongs to a votive relief dedicated by a
victorious warrior. Pentelic marble. The antique fragment is 0-43
long, 0-32 high. [*y)/]

251 (244. S). Woman by a candelabrum. Engr., 93, 2.
Antique : only body of fully-draped female in stiff hieratic style.
New : feet, corner of cloak hanging down before r. leg, r. forearm,
neck and head, and the whole candelabrum. Fairly coarse, decorative
work. Pentelic marble. The whole composition resembles the
Athenfe of a pasticcio in the Villa Albani (Raffei, Dissert. 11., sopra
un bassoril. Albani, cf. Arch. Zeii., 1S71, p. 138 note 6). [*]

252. Fragment of a frieze. Engr., 94, i. Between rich
scrolls of foliage a stag, a panther and a second stag flee 1. L. and
r. of panther a boy on either side with chlamys, raising one arm to
beckon on other companions, the one on the r. holds a javelin. A
similar specimen is drawn in Cavaceppi, Race, in. 19, i.

253 (-47)- Lid of a sarcophagus. Engr., 94, 2. In the middle,
bearded head of the god of a spring with crab's claws in his dishevelled
hair, similarly to the so-called hocca della veritd, in S. Maria in Cos-
medin in Rome (cf O. Jahn, Berichte d. sacks. Ges., 1851, pp. 141 ff.).
On either side, turned toward the middle, a sea-tiger and a hippo-
campus ; waves below. On each corner a youthful mask with long
hair and Phrygian cap. L. 2-07. H. 0-28. [J/]

384 INCE BLUNDEI.L HALI. 254 — 258.

254(311)- Fragment of a frieze. Engr., <)4, t,. The piece
seems perfect on the 1. It begins with two sea-hares (?), on one of
which a Cupid with whip rides; before them a winged sea-griffin and
a sea-stag; before these a bearded Triton with staff in r. hand. So
far the movement is from 1. to r., the other half moves in the reverse
direction. The Triton seizes with 1. hand a mighty winged sea-griffin
by one horn; then come two sea-lions, the hinder one bridled by a
Cupid. Of the further extent of the procession only the forelegs of a
hippocampus are still preserved (whose head and neck are restored
in the engraving). The fragment most likely belongs to a very long
frieze of which other very extensive pieces are preserved in Cod.
Pigh., no. 36 (cf Cod. Coburg., nos. 21, 22). [J/]

255 (283. G). Front of a sarcophagus. Engr., 95, i. Cupids
racing in the circus 1. to r. Four bigae, each with a Cupid as driver,
while the three foremost have besides a second Cupid on 1. horse.
This one looks round on victorious chariot at the driver who still
brandishes the whip. Horses of second chariot in confusion with
rider thrown on the ground, the driver looking round anxiously at
the following chariot, the third, whose driver again looks round at
the last chariot (without postillion). The spina represented in the
background by scratched lines ; on it three semicircles are visible.
Quite 1. rises the conical meta tapered towards the top. Behind the
last chariot a scaffolding is to be seen with two dolphins and a semi-
circle between them, behind the second chariot a substructure with four
ova. Below third and fourth chariots there lies on the ground a two-
handled basket (cf Visconti, Miis. Pio-Ckm., v. on PI. 38 ff.). [J/]

256(250.8). One end of a child's sarcophagus. Engr.,
95, 2. A Cupid rides on a horse prancing r., reins in advanced 1.
hand, palm branch on r. arm. New: right end of slab. L. o'3o. H.
0-23. [M]

257 (251. S). The other end of the same sarcophagus.
Engr., 95, 3. The same subject turned 1. New: 1. end and a large
piece of the palm branch. Measurements same as those of no. 256.
[il/]

258 (253. S). Fragment of an altar or of the mouth of a
well. Montfaucon, Diar. Hal.., p. iii "{Romae) in Villa Ursinia"
(near the church of S. Croce in Gerusalemme), Antiq. ExfL, i. PI.
32, I, Engr., 97, I, "bought out of the Borioni Palace." Poseidon
sits 1. on a block of rock with his body held straight, but his head,
encompassed by waving hair and adorned with a fillet, turned r., so
that clearly the composition once extended further in that direction.

INCE Br.UNDKI.I, HALL 259.

385

New: nose, also two fingers of 1. hand, with which the god supports
himself on the rock. R. arm rests on thigh, a short little cloak
envelopes hips and hangs down between legs. Close to him the
trident stands straight up, the prongs whereof are connected with
the shaft by two dolphins in decorative style. At feet of god a
sea-dragon (ki^tos) ; quite 1. above Poseidon's r. foot the fin of a second
shows that the relief extended also on this side. Below, a raised
moulding {lonis) entwined with leaves. Very high relief. Roman
work after a Greek original. Unfortunately completely worked over.
H. 0-84. [*M]

259(263.?). Archaic Relief. .C//i,v-., 97, 2. Arc/i. Ans., 1864,
PI. A. 3. Artr/i. Zcif., 1873, PI. 5, and see fig. 3 below. On a throne
with high back, the thin arms of which end off in an unrecognisable
ornament (head of animal according to Conze; according to the

^::^-=- :!^

Engravings, wrongly, a branch), sils a man without any attribute
(Zeus?). Hair falls far down over his back in carefully dressed plaits,
and forms above the forehead a broad roll of small curls arranged
in several rows. Beard long and pointed. Opening of eyes very
narrow, a feature made still more prominent by the strongly-marked
cheek-bones. Small, straight nose, very pointed. Mouth slightly
opened with a smile. On the neck one hardly notices border of long
chiton which reaches down to feet, forming delicate parallel folds.
-M. C. 25

386 INCE ELUNDEI.L HATX 260.

Upper r. arm covered by chiton, over it lies a close sitting cloak, the
folds of which are only visible on breast and back, reaching to below
the calves. R. hand rests on arm of chair. It is extraordinarily long
and rather clumsy, without proper discrimination and combination of
the several joints. L. hand little better, slightly raised as if to give a
blessing with the fingers held in finnicking fashion. The huge length
of legs bears no proportion to the upper part of the figure and to the
very small head. The great length of feet corresponds with it. Feet
rest on a stool. The relief e.xhibits genuine archaic style and most
careful execution. Contour of figure sharp and slightly rounded
(rising above the field about cois), the upper surface rather flat
and faintly mcdelled, ev-idently with the intention that details should
be expressed in colour. Unfortunately the upper surface is much
abraded. Relief enclosed in a plain rectangular frame of which two
little pieces below the stool and on the upper margin are missing,
otherwise entire. Greek marble of fine grain, apparently Parian.
Probably it is identical with the relief "of the earliest Etruscan
style" noticed by Winckelmann {Gesch. der Kunst, iii. 3, 5) in the
court of the Casa Capponi in Rome. Waagen and Conze assume
for this relief a position next to that of the Harpy tomb in the British
Museum and the so-called Leukothea relief in the Villa Albani.
For the treatment of the rehef, those examples from Northern Greece
also may be compared (Pharsalos : Heuzey, Mission scientijique en
Macedoine, PI. 23, — Thasos : Ann. dcIV Inst., 1872, PI. L). H. 0-46.
L. 0-33. \*CW]

260 (254. S). Greek sepulchral relief. E/igr., 98, r. In the
middle, facing front, stands a beardless man of about fifty years, with
energetic, self-conscious features (new: nose), in chiton and cloak, r.
arm in cloak before breast, 1. arm lowered. L. hand hidden in cloak,
a corner of which hangs down and effects a fairly artistic arrangement
of folds. In several places are marked the creases in the cloak,
which arise in consequence of its having been laid folded up a long
time: a refinement which is not rare with later sculptors. The man
wears shoes. On either side stands a little boy in chiton, an at-
tendant, tiiC one on the 1., at face, supporting chin on r. hand; the
one on the r. with amis folded before the body looking up at hi.s
master, leaning the while on a high pedestal. On this stands a
terminal image of Herakles, bearded, quite enveloped in the lion's
skin, which even covers both arms. It probably indicates a con-
nection of the principal figure with a gymnasium. Figures all raised
in boll high relief (0-12) from the very uneven field. Size and style

INCK lU.UNDKI.I. H.M.I. 261— 263. 387

of work are considerably above the average of the large number of
sepulchral reliefs derived from the Greek islands, to which the com-
position is most closely allied. The marble seems to be coarse-
grained Parian. H. 0-90. L. 0-56. [*C]

261 (266. T). Greek sepulchral relief. Eii:::i:, 98, 2. On a
cushioned couch lies a bearded man with noble Zeus-like features,
upper part enveloped in wide cloak. R. arm rests on somewhat
raised r. thigh. He supports himself on his 1. elbow. New: a cup
in 1. hand and greater part of snake which drinks out of cup ; still a
piece on the 1. arm is antique, which cannot be an edge of drapery
but can only be a piece of snake, so the restoration must be con-
sidered correct. Before couch a three-legged table with pieces of
pastry. At head of bed sits a woman in chiton and cloak on a chair
with cushions, feet resting on a stool. She lays 1. arm on head pillow
of couch, supporting r. elbow on 1. hand and letting chin rest on back
of r. hand. Her eyes meet the man's. As she is unveiled she can
scarcely be taken for the wife, whose place moreover would be by
foot end of couch; her youthfulness rather suggests a daughter. At
foot end of couch there stands by a high mixing-bowl (Kpa-n'/p) a
serving boy in chiton, 1. hand lowered, right arm raised over vessel.
New: boy's curly head and greater part of r. hand, also upper 1.
corner of relief, including r. foot of principal person. The relief is
distinguished above many similar specimens by freshness of senti-
ment, especially by the graceful movement of the woman. Unfor-
tunately much effaced. Man in low, woman in higher, indeed in
some parts of her figure in quite high, relief Lower margin is cut
away on under side with slope downwards towards back, but the two
ends are left so as to look like the two feet of a chest. Coarse-
grained Greek marble with large micaceous lumps, apparently from
the islands. H. 0^40. L. o'53. [*]

262 (256. S). Right end of a sarcophagus. TTwt,';-, 99, i.
Accou7it, Plate to p. 88. Aphrodite in long chiton, cloak, shaped
like a shawl, floating behind back, with stephanb on hair, hastens
r. with lively step, holding a large palm-branch on 1. arm, in r. hand
holding out the apple to be displayed in Olympus o 1 her vic-
torious return from the contest of beauty. Before her hastens little
Eros, looking back at his mother, nude and winged, torch on 1. arm,
lifting up a wreath in r. hand. There is a drawing of it already in
Cod. Coburg., no. 202. Low relief Poor work. Marble with
black veins. H. 0-56. L. 0-49. (,T. ne.xt number. [J/]

263(255.8). Left end of the same sarcophagus. Eiii;i:,

388 INCE BLUNUELL HALL 264^266.

99, 2. Account, Plate to p. 88. Paris sits in sleeved chiton, trousers
and Phrygian cap, r. on a rock, holding crook {pedum) on r.
arm ; with 1. hand raising syrinx to mouth. Before r. foot on the
ground lies the ajiple. By him sits a dog, r. a pine tree. Restored :
small [jiece of r. margin. Clearly the moment before the arrival of
the goddesses is represented. Cod. Coburg., no. 201. No doubt
the front of the sarcophagus contained the judgment of Paris itself.
It may be the relief which was built into the wall high up in the
casino of the Villa Pamfili (Matz-Duhn, Ant. Bildw. in Rom, 11. no.
3342) and is best drawn in the Annali dell' Inst., 1839, PL H. At
least the Cod. Coburg. likewise contains a drawing of it (no. 200,
Matz). Measurements same as for no. 262. [vtf]

264 (258. S). Right end of a sarcophagus. Engr., 99, 3.
Account, Plate to p. 89. A nude youth with fillet in hair, the fat face
resembling that of the Emperor Nero, turned to the spectator,
hastens 1. leading a prancing horse by bridle. L. hand holds a club,
over 1. arm hangs a lion's skin. (Dioskuros ?) New : upper, 1. and
lower border, also a piece of r. border; still, except half 1. foreleg
and half head of horse, only unimportant parts are restored. H. 0-57.
L. 0-50. Cf. the following number. [j1/]

265(257.8). Left end of the same sarcophagus. Engr.,

99, 4. Account, 1. cit. A bearded man of Herakles' type leads his
horse r., club in 1. arm. Counterpart of no. 264 in every respect,
except that the lion's skin is absent, (Dioskuros ?) New : all four
borders including upper half of man's head and all that part which
extends r. above the outhne of the horse's neck. H. 0-59. L. o'49.
[M]

266 (2S6). Child's sarcophagus of oval shape. Engr.,

100, I. Bacchic scene. Quite 1. a pine. By it a Maenad in long
ungirdled chiton, clashing large cymbals, and before her a nude boy
(Eros ?) with torch. Separated from this group by a second pine-
tree comes Dionysos, nude but for cloak, which covers back, 1. arm
and part of legs. With r. hand he rests a long sceptre on the
ground, while the 1. hand, holding a cup carelessly, lies on the
shoulder of a young Satyr, who serves to support the god, and whose
eyes meet the god's. At the feet of the group lies a panther.
Further r. a mystic cista stands on ground, out of which a snake is
wriggling. A bearded Pan plants his r. goat's foot on the lid of the
cista, a skin {vtj3p!.s) on r. shoulder, swinging in r. hand a curved
pedum and with the 1. hand dragging along a refractory buck which
lies on the ground. In background between the Satyr and the Pan

IXCK in.UXDELI. IIAI.I. 267.

(Juile r. a pine

appears a Maenad in long drapery, playing (liile.
tree concludes scene. Rough work. [J/ ]

267 (264. P). Relief representing a Centaur, lingr.,
100, 2. Arch. Ztit., 1874, I'l. 6, and see fig. 4 below. A bearded
Centaur gallops r., swinging a branch with mighty effort over his

head, apparently meaning to hit a tiny panther which sits (juietly in
the lower r. corner turning up its head to its assailant. It is strange
that 1. upper corner of relief is left quite bare, while the Centaur's
tail, which might have so conveniently filled it up, is tucked between
hind legs. This feature in the composition is of a piece with the
clumsiness in the connection of the equine and human halves of
the semibrute. A strange protuberance as well as a piece of mane
at the withers emphasises the contrast between the two natures more
than it conceals or at all facilitates their union. Human torso much
too short. Face, seen quite full, surrounded by dishevelled hair
and beard, presents characteristic but ignoble features. Eyelids
sharply expressed. Legs clumsily designed. In fine the whole
figure is angular and unwieldy. Although, however, the impression
produced by the whole work is of so little interest, still it has not the
roughness and carelessness of late Roman work turned oft" wholesale,
but rather of an art not yet fully developed. This incapacity may be
partly due to the general standard of art at the time when the relief
was produced, partly to the feeble j>owers of the individual author.

390 I^■CE BLUNDELL HAI-L 268—273.

It is probably, as Matz recognised, the production of an Attic
workman of the fifth century B.C. We find kindred traits of defec-
tive capacity on several of the less successful metopes of the Parthe-
non, though by no means to such a conspicuous e.xtent as in this
case. Very low relief (o'o2), the flat treatment answering to the
Attic style. The marble again is Pentelic. H. o'4r. L. 0-35.
[*CM]

268 (324). Fight with lions. £>ig>:, 100, 3. A youthful
man in tunic and short cloak, holding a short hunting knife in his r.
hand, lies on the ground by his dead, prostrate horse. He looks
anxiously at a large lion, which, though mortally wounded by a spear
in the breast, springs upon him and has already laid his forepaws on
his shoulder. A second lion lies dying in the background. New :
upper third of relief including shaft of spear, and almost the whole
head and tail of attacking lion, also 1. border. L. about I'oo.
[M]

269 (278. S). Mask of a Sea God. Engr., loi, i. Above
a rich festoon of fruit, the head of a sea god appears in front, with
flowing hair and beard (new : nose). A wreath of large leaves of
an aquatic plant adorns the head; ornamental leaves sprout from
cheeks and chin and cover them in phantastic fashion. Cf. the
following numbers. Judging from the engravings, one may suppose
these rehefs to be ends of sarcophagi, like nos. 275 or 278. Ac-
cording to Waagen " the admirable decorative workmanship may
belong to the time of Trajan;" Matz seems to have doubted its
antique origin. [MJV^

z6ga (279). "This, a companion to the above, is much in
the same style ; but being without a beard, it is conjectured to be a
female figure." Accouiif.

270 (265. S). Female mask. Engr., loi, 2. Similar relief.
Head surrounded by long hair has a tragic expression, but no oiikos.
Perhaps a female marine deity; according to Matz a Medusa, cf.
no. 220. \_M'\

271, 272 (272, 273. P, portico). Two Dioskuri. Engr., 102.
The two youths stand opposite to each other in similar attitude, only
reversed, by their horses ; small cloak over one shoulder ; hat and
spear new. Of the first relief indeed only body of horse including
half hind legs, and body of Dioskuros from neck to knees, are an-
tique ; of the second only body of Dioskuros from neck to above feet
and the whole of the arms, except 1. shoulder, also body of horse
and neck up to bridle. Workmanship good. Bought from the Villa

INCE BLUNDELL HALL 273 — 276. 39I

Altieri, where they were much noticed for their size and sculpture.
[MF]

273 (345- T, portico). Fragment of an oval child's sar-
cophagus. Engr., 103, I. A few vertical flutings of the front
remain. On the rounded 1. end a tolerably quiet lion, facing r.,
decorated with a broad ribbon round neck, stands over a roe
thrown on the ground. H. 0-39. [*-'>/]

274 (543. S). Fragment of an oval sarcophagus. Eagn,
103, 2. A powerful lion springs forward 1. and mangles a horse
overthrown on the ground. Horse wears round barrel a band en-
riched with ornament (of precious stones ?) and a smaller collar band
round neck with a half-moon depending, which serves for an amulet
(o-eXrJvia iiijvLctkwv cts airoTpoTriao-^oV, cf. O. Jahn, Berichte ihr sdchs.
Gesellsch. d. Wiss., 1855, pp. 42 f.). In background there looks on in
terror a youth with long curly tresses, in cloak, raising r. hand briskly,
in 1. hunting spear with barbed point (spams). Found in neighbour-
hood of Smyrna. From the Bessborough collection. H. 075.

275 (277). Front of a sarcophagus. Engr., 104, i. Ac-
count, Plate to p. 89. Three charmingly drawn boys, the middle one
lifting a sheep by the tail, carry two especially rich festoons of
fruit (cf. nos. 269, 270). In 1. field above festoon the inebriated
Herakles, head encircled by tiUet, is led forward 1., supported r. by a
wreathed youth (Satyr ?) who has in r. hand a lowered burning torch,
1. by a Pan between whose feet a wreath lies on the ground. On 1.
an olive tree, r. bearded terminal figure of a Priapos-Lordon. In
r. field a sleeping nymph lies in a rocky cave with upper part of
body nude (about it a small girdle passes); near her a Cupid, ap-
parently asleep, stands leaning against the rock in pleasing pose.
The bearded Pan approaches from r. in wanton mood, advancing
his hand towards the sleeping nymph's drapery. New: merely a
small piece of upper border. Good sculpture. L. about i '20. This
I suppose to be the relief which E. Q. Visconti mentions (J propos of
the nymph's girdle, Mus. Pio-Clcm. in., p. 47 Mil, as to be found
ora in Inghilterra ndla scelta colkzione del signer cavaliere Blondell,
gia presso gli scultori Lisandroni e d Este. [J/]

276(260?). Two reliefs, apparently ends of a sarcopha-
gus. Engr., 104, 2. 3. Account, 1. cit. On each slab a gritfin
standing with one fore-claw lifted on to a ram's head which lies on
ground; one looking r., the other 1. (cf. Stephani, Compte-rcndu, 1864,
P- '39)-

392 INCE BLUNDELL HALL 277 — 280.

277 (280). Roman sacrifice of a bull. Engr., 105. The
movement of the sacrificial procession is from 1. to r. Quite r. stands
the acolyte [camillus) in long tunic with casket of incense {acerra iuris
plena) in his hands. Next, a beardless sacrificer in tunic and toga,
velato capite, with sacrificial bowl [patera) in lowered r. hand. On
altar ornamented with a garland and narrow-necked jug {guttns) in
relief burns the fire. On 1. side of altar stands a sacrificial slaughterer
ipopa), bearded and wreathed, skirt girt up about loins, with high
boots, shouldering on 1. arm the axe with long handle, with r. hand
he grasps a corner of the woollen fillet [vitta, infula), which adorns
the large bull. Behind bull two more attendants garlanded and high-
girt {succincti), the foremost of whom holds the bull by one horn. Be-
hind them a second popa, accoutred like the first, carrying axe over 1.
shoulder. The scene is closed at 1. end by a group of three youths
in tunic and toga, of whom two at least carry a branch in their
hands.

278 (284. T). Front of a child's sarcophagus. Engr., 106.
An eagle in the middle and a boy at each end support a rather
tightly stretched festoon, above which in each field two Bacchic
masks set opposite each other. A youthful ivy-crowned mask of ideal
features is placed 1. in each field. Opposite to it in 1. compartment
a bearded Satyr's head with dishevelled hair and large brutish ears,
in r. a bearded long-eared Pan's head with very long horns. Work
flat and rough. Cf nos. 269, 270. [vJ/]

279 (285). Fragment of the front of a sarcophagus,
right end. Engr., 107, i. Achilleus in full armour, shield on 1.
arm, spear in r. hand, drives r. on a biga, looking round. New:
greater part of cloak, r. foot and end of chariot ; Hektor's corpse
was undoubtedly once fastened thereto. Beneath chariot lies a
youthful male deity (so says Matz), torso exposed, with long curled
hair, raising r. hand in mourning (Skamandros or some other local
god). The horses are led by Victory, winged, in Doric chiton, which
lets 1. leg become nude when advanced ; in lowered 1. hand she holds
whip. For composition compare strip X of the Capitoline Tabula
Iliaca (O. Jahn, Griech. Bilderchroniken, Taf. A*) and the corre-
sponding piece of the CapitoHne Achilleus relief, where also the
Victoria appears \Miis. Capitol., iv. 37, Overbeck, Gallerie heroischer
Bildw., PI. 19, 5). \M\

280 (333). Amazonomachia. Engr., 107, 2. From the r.
a youthful warrior with long hair, a so-called Corinthian helmet on
head, on r. arm a large round shield (device : a winged Medusa's head),

I\CK niUNDKI.T. IIAI.I. 28 1, 283. 393

gallops at an Amazon sinking to the ground, who advances her
target (J>dta) against him. R. breast not covered by chiton ; on head
a Phrygian cap. R. forearm broken away. Above her appears on
horseback a female comrade in chiton and cap who, with a view to
protect her, brandishes her axe {bipennis) against her assailant. Quite
1., below, the remains of a horse's leg. This apparently fine relief is
broken on all sides.

281 (318. P). Fragment of the front of a sarcophagus.
E'lgr., 107, 3. Fragment of a representation of the rape of Perse-
phonfe. Antique: chariot, lower part of Pluto's body, and Persephont;
whom he holds in his arms, Athena with aegis, shield and helmet
(new: face and r. forearm), Artemis, who flees 1. (new: head, 1. hand,
r. arm and r. leg). Between Artemis and Athena an altar is partly
visible, an indication of the sanctity of the place where the rape took
place. Cf. Forster, Der Raiib der Persephone, Stuttg., 1874, pp. 140,
154- VM\

282 (287. P). Nymphs imploring ("Prometheus"). Engr.,
108. Account, Frontispiece. Arch. Zcit., 1858, PI. 114, 4. Three women
standing and two kneeling, all with bodies nude and legs covered
with cloak are turned 1. The last at r. end stands upright and bends
up r. hand towards shoulder, while with 1. she holds cloak on hip.
Before her a dolphin plunging into the waves to be seen on both
sides of him. Behind dolphin stands a second nymph, bending for-
ward and stretching out r. arm in entreaty. By her in the foreground
kneels the third nymph stretching forward both hands (new: 1. arm
from middle of upper arm). The fourth stands in the background, in
similar attitude to the second. A fifth nymph kneels, like the third,
in the foreground; of her, head, torso and most of 1. leg antique, the
rest including whole 1. arm new. Besides this, upper border of relief
is restored from 1. end as far as over head of second nymph, as well
as the whole figures of Hephaestos sitting, and of Prometheus lying
chained to the rock, together with the eagle above the latter, by
which the relief has been turned into an illustration of a scene in
Aeschylos' Prometheus (cf. Welcker, Alte Denkmdler, iii. 197, Jahn,
Arch. Zeit., 1858, p. 186). The real state of the case, after Jahn had
extended his doubts to the genuineness of the entire relief, has been
stated by Conze, who also took the two figures on the r. to be
modern, and more accurately by Matz {Arch. Zeit., 1873, p. 32).
The antique part, in Italian, slightly-veined marble, displays good
Roman work. From the Villa Altieri. L. 1-42. H. about 069.

394 INCE BLUNDELL HALL 283 — 29O.

283 (292). Sepulchral relief. Engr., 109, i. A garland hung
on two bucrania; below two dolphins with tails twisted together. All
round a kymation.

284(291). Companion piece to the above. Engr., 109, 2.
Similar design; under garland sacrificial implements, ladle (siiiipuluin),
bowl (patera) and jar (guttus).

285 (312). Akroterion. Engr., 111, r. Composed of akan-
thos and helix. Lower border cut away to fit the ridge of a pedi-
ment.

286(327). Akroterion. E/igr., 111, 2. Broader than no. 285.
Straight low border.

287 (328. T). Herdsman and herd. Engr., 112, i. Between
two trees a herdsman in exoniis, with boots and mallet at side, stands
facing r. leaning on staff, and looks at his herd. Below, a bull, above
it a sheep lying down, quite at the top a sheep leaping up which is
browsing on the foliage of the middle tree, there being a third tree
quite r. Flat and bad. [^M^

288 (313. P, on external frieze). Bacchic scene. Engr., 112,
2. Quite r. a Maenad with head thrown back dancing with ecstatic
movement, back and 1. leg mostly bare (face and arms missing). Fur-
ther 1. follows a youthful Satyr, en face, dancing with crossed legs, a
pedum on 1. arm, holding in r. hand a syrinx before his breast. Then
a Maenad in cloak, which leaves upper part of body partly nude,
playing on a kithara. Quite 1. the bearded Seilenos, tipsy, legs covered
by a cloak, kept from falling by a young attendant, while he stoops
after an object like a small plank. Very much mutilated but ap-
parently free from restorations. The style seems to indicate the so-
called neo-Attic art. L. about 0-50. [*]

289 (322. P). Hygieia. Engr., 113,1. Facing 1. stands the
goddess with long curls hanging down, in ungirdled chiton, encircled
by a large snake. She holds in 1. hand a shell-shaped cup. An-
tique: only the oblong piece of which the upper margin passes
through the goddess' eye, the lower through the middle of her thigh,
the 1. is cut off just before the shell, on the r. side the genuine
piece comes to the end of the relief In lower 1. corner the greater
part of body and head of a cock, which looks up near the snake, is
antique. Rocks and tree all modern. [*C/I/]

290 (314. T). Orpheus amongst Satyrs. Etigr., 113, 2
(inaccurate). Arch. Zeit., 1877, PI. 12, 2 (Michaelis). Before a
gnarled tree quite at 1. border sits facing 1. on a block of rock a
beardless youth (Orpheus) with short hair, playing on the lyre; a

INCE BI.UNDELL UAl.L 29O. 395

cloak covers his legs. Close before him and facing hirn in middle
of relief stands a group of three boys half grown up, of whom at
least the hindermost is plainly to be recognised as a Satyr by a small
tail. All three quite nude and in pretty quiet attitude. The foremost
is speaking to the musician and gesticulating with r. hand. The
middle one with snub nose, curly hair, and open mouth is only indi-
cated in the background in quite low relief. Further r. a second
tree follows, before which a litde boy sits on a block of rock. His
whole attitude strongly recalls the Capitoline Boy lookiyig for a
thorn; probably this lad also is conceived as in the same occupation.
Near him, half hidden by tree, a larger boy with upper part of body
visible; he looks curiously at the principal part of the scene and
stretches out his opened 1. hand above the sitting lad. From the r.
advancing a larger youth, presumably a Satyr, r. arm raised in won-
der, in 1. a pedum; a cloak flutters back from 1. arm. Behind him
rocks conclude the scene. Above the group of three Satyr boys
the upper parts of two figures are visible on raised edge of rock
which starts abruptly from the field of the relief They are only
a little covered by cloak, arms laid round one another's backs. The
figure on r., which rests 1. hand on rock, seems to be male, that on
1. is female. She advances her r. hand and seems to have held
with it a staff or something of the kind to which a large round flat
disk was attached (tympanon? mirror?); of the presumed staff there
is a trace recognisable on the disk itself, another betvveen it and
the woman's hand. Quite 1. above the stem of the tree a male
figure, likewise half-draped, looks with curiosity over a piece of rock
at the scene below. There is a trace still extant of a similar ledge
of rock also on the r. over the youth with the pedum. Upper r.
corner missing. The whole relief, in part quite low, is in part raised
more than q-oi, indeed in a few places the figures are quite detached
from the field. It is extremely damaged by water and moreover
broken in several places. New: only part between tree on 1. and
the player on the lyre. The kind of representation of landscape is
as remarkable as the rest of the conception. It is as unusual to
find Orpheus among Satyrs, as it is common to see him taming
wild beasts by his musical art. Prof Wilamowitz however calls my
attention to the liber ftwustrorum i, 6 (Haupt Opuscula 11. p. 224):
Faiini enint sUvicolae...quos poeta Lucanus (no doubt, in his lost
poem on Orpheus) secundum opinionem Graeconim ad Orphei lyram
cum innumerosis ferarum generibus cantu deductos cecinit ; comp.
Horace, De art. poet., 391. Besides, a Satyr listening to Orpheus

396 INCE BLUNDELL HALL 29I — 295.

appears on a Greek vase {Arch. Zeit.., 1868, PL 3); less certain is
the name of Orpheus given to the musician of another Bacchic vase
{Annali 1845, ?'• ^^) '' cf- Knapp Wnrtanherg. Correspondeiiz-Blatt,
1880. H. 0-32. L. 0-47. [*jM]

291. Fragment of a votive relief. Eiigr., 114, i. L. a
stout pine tree entwined by a snake. Two woollen fillets (infulae)
pass through the foliage and from one bough hangs a pair of
cymbals. Before it an altar adorned with garlands which depend
from a bucraniuni. By the altar stands a nude youth with long hair,
of ApoUine type, emptying a cornucopiae on altar, advancing 1. arm
liehind which a cloak is visible. On 1. and r. it is imperfect. On
upper border remains of an inscription of two lines . . jii. aniiquii...
(?) I ...is praest...; on lower border the legend de sua pecunijd).

292 (84). Votive relief to Silvanus. Engr., 114, 2. In an
aedicula formed by two Corinthian columns and a pediment, which
contains a crown as decoration, stands Silvanus in his usual style of
representation (cf. Reifferscheid, Annali delV Inst. 1866, pp. 210 ff.).
He is bearded, bears fruits in skirt of cloak and in 1. arm branches of
a pine tree, in r. the curved garden knife, with high boots on feet.
By him sits his dog. Below, the inscription Sil{vaiio) sal{nfari)
Cell Cortos (?) ct Herm{es). Cf C. I. L., vi. i, 3715, where
under no. 593 is a copy of the same inscription communicated to
E. Q. Visconti by d'Este and Lisandroni, which gives sac{?-iim) in-
stead of sal. and Hermes instead of Herni.

293 (316). Ploughman. Engr., 114, 3. A man in ungirdled
tunic, with a pileus on head, guides with 1. hand a plough of the
primitive pattern, which survives even to this day in Italy, drawn by
two oxen, and pricks the ox with a short goad (stimulus). Small relief
with plain border. Cf Jahn, Arc/i. Zeit., 1861, p. 146.

294 (316). Roman architectural design. Engr., 114, 4.
A lov? basement story decorated with six Tuscan half-columns, the
spaces between which are alternately occupied by an arch resting on
two pillars (three times) and a quadrangular ornament (twice). In the
upper story, which is higher, two large, similar half-columns support
the cornice ; between them two arches resting on pillars and,
inside these, small facades of temples, the one having four columns
with an arch over door, the other having two columns. The relief
seems to be imperfect.

295 (320. P). Relief in imitation of the Egyptian style.
Engr., 115. An Egyptian with long hair, drapery reaching down to
knees, oifers with both hands a large bowl or basket to an owl which

I\rK KLUNDKI.I, IIAI.U 296 — 29S. 397

sits solemnly on a high pedestal Antique: only man's body from
neck to knees, arms and vessel. Apparently a work of the time of
Hadrian. [* JF]

296(323.'!'). Cupids gathering quinces. Eiigr., 116. Man.
Mdtth., III. 18. Two Cupids busy knocking the fruit with long sticks
o(f a quince tree on which a bird sits. Very rich border of leaf
sprays, which belonged to the relief originally, as it is all of one
piece. Restorations very trifling. There seems to be no doubt
about the antiquity of the work. Very high relief. The relief was
fixed in an alcove in the garden of the Villa Mattei. H. i'53.
L.o-89. [*]

297 (325). A wild boar. Engr., 117. The powerful brute
runs 1. The field contains indications of rushes (antique ?). From
the Villa Borioni.

298 (326. T). A vintner's sign or sepulchral relief. Eiigr.,
118 (inaccurate). Arch. Zeit., 1877, PI. 13 (from a new drawing),
with letterpress by H. Bliimner. An older drawing is in the collec-
tion of A. W. Franks, Esq. (see London). On the 1., on a rock above
which appears a vine, stands a woman fully draped, lifting a corner
of her cloak with 1. hand and shaking hands with a bearded man
in ungirdled tunic with a small cloak over 1. arm ; in I. hand there
seems to be a roll. At woman's feet a vat lowered into the ground
and covered with a flat wooden hd. The comparatively large propor-
tions point out this pair as the principal persons, the owners of the
wine-shop to which the relief may have served as a sign (for similar
signs cf. Jahn, Berichte d. sdchs. Ges. d. Wiss., 1861, pp. 353 if.,
Jordan, Arch. Zeit., 1871, pp. 65 ff.) ; unless it were supposed rather
to be a sepulchral relief, as is Bliimner's opinion. Further r. leafy
shoots of several vines overrun the field, between which are six
vats with upper rim projecting, two sets of three one above the
other apparently, five of them shut by wooden lids. Above
goes a slave in short tunic, carrying on 1. shoulder an amphora cased
in wickerwork, which he seems to have emptied into the topmost 1.
vat. To the middle vat of 1. row a slave brings a similar wicker-
covered amphora, into which another slave kneeling on edge of vat
seems to be pouring must from the open vat by means of a flagon
(rubbed away) ; this is however not (luite clear. Behind lowest vat
of r. row stands a man in ungirdled drapery, holding in 1. hand a long
staff furnished with a knob at the top, probably a ladle with a long
handle. Before him stands on the far side of the tree an appa-
rently bald-headed figure in ungirdled tunic, the 1. hand lowered,

398 IXCE BLUNDELL HALL 299, 3OO.

r. raised thoughtfully to chin. Quite r. below are to be seen two
more vats, the lower apparently open, the upper closed \nt\i a
wooden cover. By it there stands at the very edge of the relief a
comparatively large youth in ungirdled tunic, bending up r. hand to-
wards shoulder, in 1. hand a roll. According to Bliimner's plausible
conjecture the larger proportions of the figure indicate the son of the
married couple represented at other end, not a person employed in
the scene represented. Above his head the upper corner of the relief
is occupied by a strongly projecting tiled roof, under cover of which a
man in short tunic sits leaning very far back holding an open book
on his lap. With 1. hand he turns leaves of book, the r. rests on a
low counter of usual shape, on which some indistinct objects are
visible. Between lower end of counter and the two vats stands a
little figure in ungirdled tunic holding in 1. arm an opened book, with
r. hand laid on an oval plate, which stands on counter, with two round
flat objects on it. At upper end of counter stands a similar figure
unrolling a roll (volumen) in conversation with the sitting figure. The
whole scene seems not so much concerned with traffic as with the
reckoning up of the yield of the vintage. On the upper border two
square tablets are to be seen, perhaps sign-boards ; next the roof one
with a snake rearing itself (as genius /od?) and above it eight J>un-
telli, next the middle of the scene one divided into four square
fields, each of which exhibits a very deep circular cavity surrounded
by a rim. Bliiraner conjectures that it is a window. I should rather
suppose a bird's-eye view of vats, as on the sepulchral relief of M.
Vergilius Eurysaces before the Porta Maggiore at Rome. At the bot-
tom a strip about 0-14 high is left bare, very likely for the inscription ;
a narrower border goes round the top and r. side, on 1. side it is want-
ing, instead of it appears a tolerably smooth join. As the vine more-
over appears 1. of the married couple as well as r., Bliimner's con-
jecture, that this couple originally occupied the middle and then a
similar scene to that on the r. followed on the 1., and lastly quite on
1. border a second child of the couple may have concluded the scene,
is more than probable. Work rather coarse and not very distinct.
H. o'6o (field of relief by itself o'42). L. o'93 (field of relief
0-87). [=M/]

299 (329). Leaf-work. Engr., 119, i. Quadrangular slab,
presumably from a cinerarium. Two vine-shoots rise symmetrically
from broad akanthos leaves. In field four birds pecking, one with a
butterfly in beak.

300 (330). Leaf- work. Engr., 119, 2. From a vase on whicli

INCK HI.UNDKI.I. IIAI.I. 301— 304. 399

is a li/card chasing a snail, spring up quite in ornamental style a
palmetto and four vine-shoots. L. a buttcrtly, r. a grasshopper.

301 (334). Corner of the lid of a sarcophagus. Engr., 120,
3. Medusa's head with win^s on temples.

302(402). Cippus of Passienia Gemella. Engr., 121. Mon.
Matth., III. 67, I. On front within a border stands the inscription
D{is) M(anibus) \ Passieniae Gemd^lae coiitgi et lib{ertae) j suae
carissimae \ ohseqiieiitissi mae et L. Passie\mo Doryphoro \ filio et
Passienio \ Sabino filio et lib{ertis) \ sanctissimis. Above, L. Passienius
Satiirninus fecit. Above inscription between two pillars busts of
Passienia Gemella and both her sons, the one on her 1. fully draped,
the one r. nude but for a cloak lying on shoulder, l. side. In prin-
cipal field the mother veiled embraces eldest son clad in short drapery
who stands on a somewhat higher step. Above, an eagle between
two pillars. R. side. Similar scene in principal field. Mother not
veiled. Younger son on higher pedestal up to which a small flight of
steps leads. Above, eagle between two pillars. From the Borioni
collection.

303 (520. P, pediment of portico). Front of a sarcophagus.
Engr., 122. Fight with barbarians. At each corner a tropaeon mth
a nude barbarian at its foot, sitting on the ground with hands bound
behind back. From 1. to r. : a mailed horseman fully armed gallops
over a draped corpse lying on the ground at a nude foot-soldier with
helmet and sword turned in flight, who is threatened from the r.
with a sword-cut from a similar horseman. On the ground a bar-
barian, nude but for cloak, having been wounded in breast rolls over
his shield. Near by, on the back of his prostrate horse, lies another
barbarian, clad in tight trousers and cloak : over him a bearded foot-
soldier, with large shield ornamented with branches, raises his
short sword against the second horseman. Hard by, towards the
middle of the whole scene, a noble youth stands sinking backwards,
nude but for chlamys and shield on 1. arm, with r. hand grasping
the spear which has pierced his breast. Further r. a fully-armed
horseman draws his sword against a foot-soldier in tunic, boots
and helmet and with a shield adorned with branches, who is pressing
on. On the ground lies a nude corpse on its back, the breast
transfixed by a sj)ear, shield close by. Quite r. a fully-armed Roman
trumpeter is blowing the long tuba. Romans all beardless. A clear
and orderly composition. Restorations unimportant. H. 075.
L. 228. Bought at Lord Cawdor's sale. [*J//F]

304 (521. I'). Girl with garland. Engr. 123. Fea, Sloria

40O INCE BLUNDELL HALL 305, 306.

dclle artt, lu. PI. 18, p. 495. A richly-draped girl in chiton and
cloak, her hair encircled with a fillet, moves r. in dancing step and
carries before her with both hands a garland, which hangs a good
way down. New : half r. forearm, an important piece of garland
and most of the feet. Behind her a flat architectural design of
pilasters. To r. a circular temple with roof running up to a point.
The Corinthian columns standing on a high stylobate have dolphins
on the capitals instead of volutes : of the intercolumnar spaces
one is filled up with trelHs work, in the other is a door orna-
mented with a lion's head and bosses (now only one fold, modern
remainder as copied by Fea is now wanting). A flight of steps
leads up to door. Brilliant execution, especially in girl's figure,
which is accurately repeated in a celebrated Borghese relief in the
Louvre (S. Bartoli, Admiranda, Pi. 64 (75). Bouillon, Miis. des
Antiques, II., rel., PI. 4, 2. Clarac, 11. 163, 258, the middle figure).
Bought from the Villa Negroni by Jenkins, sold by him to Lord
Cawdor, at whose sale it was purchased for 113 guineas, cf Dallaway,
p. 388. [* IV]

305 (533- P)- Round ara. E/igr., 124. Gal. Gtustin.,u. 152?
An old drawing as early as in Cod. Coburg., no. 87. Movement
from 1. to r. A small statue stands on a pillar, a nude figure with
lowered r. arm, supporting chin with 1. hand (Eros?). From 1. a youth-
ful Satyr walks up to it, with waving nebris, thyrsos in 1. hand, raising
r. hand and looking round after a Maenad with long drapery, dancing
ecstatically, who with head thrown back wields thyrsos in 1. hand, tym-
panon in r. Between the two a panther following the Satyr. Pan
follows the Maenad, with flying nebris, holding syrinx to mouth. Be-
hind him an ecstatic Maenad with cloak in waving folds, holding out
a wreath in r. hand. Fairly high rehef (o'04) inclining to rectangular
treatment. Execution coarse, in part rough. Tolerably rubbed
and here and there retouched, especially round about the statue;
its motive however is certainly old. New : lowest part of plinth,
and kyma at the top. H. of old part 074, of field of relief 0-59.
From the Bessborough collection. [*C]

306 (534. P). Round Ara. £ngr., 125. On a square basis
(without garland) rises a candelabrum or thymiaterion. Next on r.
stands en face Persephonfe, fully draped and with back of head veiled,
long torch in r. hand, and Pluto, whose cloak leaves upper part of
body free, long sceptre with pointed top in 1. hand. Then comes
rocky ground on which the three-headed Kerberos sits, and by him
on a higher block of rock a bearded man, legs covered with cloak,

INCIC BLUNDF.I.I, HALL 307. 401

both hands in lap and with head facing the spectator (almost
the whole head new). It cannot well be Herakles, but only Aeakos,
the later gate-keeper of Hades and closest companion of Kerberos.
Behind him stands Hermes, the conductor of souls and messenger
of the under world, with modern wings on feet, chlamys, hat (wings
modern) and winged caduceus on 1. arm, r. arm extended to-
wards Aeakos. Low, coarse relief without restorations, but com-
pletely worked over and seriously disfigured. The parts of the
ara above and below relief mostly new. H. of antique part 072,
of field of relief 0-65, of relief from field 0-02. From the Bessborough
collection. A similar ara from the Giustiniani Palace {Gal. Giiistin.
II. 126, 3) is now in the Rondanini Palace in the Corso in Rome, two
others with kindred subjects in the Vatican {Mus. Pio-Clem., iv. 35,
36); cf. Petersen, Bullctt. delt Inst, 1861, p. 83. [*CfF]

307 (539- P)- Lid of a sarcophagus. Engr. 126. Front.
Return from hunting ; movement from 1. to r. Furthest r. a bearded
and a youthful hunter, both in exomis and with boots, the first with
a stout stick forked at the top, carry on their shoulders a long pole to
which the body of a large bear is tied with straps. Between them a
large hound. There follows a group quite similar, only an ibex is
carried instead of a bear ; also the younger bearer has a stick. Then
comes a bearded man with tunic, cloak and boots, two hunting
spears in 1. hand, leading with r. a mule, on whose saddle lie two
hares. The fourth group consists of a bearded man in tunic and a
youth in exomis, both barefooted and with a stick forked at the top
in 1. hand, carrying on shoulders, apparently on boughs with many
branches, a large heavily filled net, at the contents of which a dog which
is between them sniffs. The procession closes with a two-wheeled cart
{plausirum) laden with a boar, two bears, an ibex, nets and branches,
drawn by two oxen, which bend their necks beneath the heavy yoke.
A bearded man in boots, exomis, and cloak, walks quickly before it,
driving on the beasts with a stout staff. Behind the beasts is visible
the upper part of a figure hurrying 1. in tunic and small flying cloak,
r. hand lying on head to denote terror, 1. advanced. Quite 1. a stout
pillar with an arch over it, under which the cart is passing. At r. end
there never was a corresponding structure. At corners tragic masks,
to which on the opposite ends of the side gables akroteria with
single palmette ornaments correspond. L. side : a youthful hunter
in exomis thrusts with a long pole at the snout of a large boar lying
on the ground, presumably to rouse it up. On the 1. lies an ibex.
In background two trees. R. side: between two trees a bearded
M. C. 26

402 INCE BLUNDELL HALL 308 — 31O.

man wearing the exomis sits on a block of rock holding a staff. On
the ground lie apparently asleep, on 1. a stag with magnificent horns,
on r. a panther. Pretty, animated composition, well executed.
H. o'2i. L. 2-1 6. From the Eessborough collection. "At Roe-
hampton is said to remain the sarcophagus from which it was taken
with an inscription: D. M. \ C. Tutilio Ricfino \ vtnatore (sic) | T.
Claudius Secundo (? presumably Secundio or Secuiuhis) \ amico b(enc)
m{erenti) p{osuit)P [*A/JV]

308 (319. P). Satyr. Engr., 128, i. A nude youthful Satyr,
pedum in r. arm, holding in advanced 1. hand the thyrsos, with
taenia hanging from it, steps r. New : r. foot, lower part of 1. leg,
and 1. hand. Beautiful and animated in forms of body. Large
relief (measurements could not be taken). Greek work. Greek
marble. [*C']

309 (321. P). Satyr. Engr., 128, 2. Beardless Satyr, skin
hanging down over back, pedum on 1. arm, steals off 1. half stooping,
a deep cup in advanced r. hand full of honeycomb. Beside him an
altar. Above, garlands hanging from bucrania, which are fastened
to pillars. New: terminal bust of Pan to 1., and in general the 1.
half from a line which runs through cup, altar, lower part of Sat)T's
r. leg in a slanting direction. Not originally a companion piece to
no. 308, but equally large relief, considerably higher. Very good art.

310 (519. P). Three youths. Engr., 12c), Anh. Zeit, iS,-]-],
PI. 12, I (Eug. Petersen). In the middle on a block of rock sits a
youth facing 1., with a cloak spread under him, 1. hand laid on a staff,
r. arm laid on 1. hand, and holding in advanced hand an unrecognisable
object, most like a sword-hilt (new : head, 1. forearm, upper part of
staff and r. wrist). Before him 1. stands a second youth, whose
chlamys appears behind his back and on 1. arm; on neck remains of
a petasos ; he is prepared to depart, but still leans on a staff fixed
under 1. shoulder; his only antique parts are the legs (about half r.
foot and 1. knee nev*'), with part of torso to a line which goes up in a
slanting direction from r. hip to just below 1. shoulder, a piece of
petasos, upper part of 1. arm and fingers of 1. hand. Behind the
sitting youth, in similar attitude to that just described, a third youth
whose chlamys hangs down from both shoulders and covers body
equally before and behind, leaving both arms free. With r. hand
(partly new) he holds up a long stick resting on the ground, 1. arms
lowered. New : head and 1. shoulder, 1. forearm with hat or bag and
part of 1. leg. L. hand seems originally to have held a similar object.

IXCE BI.UNDKI.I. IIAI.I, 311 — 314. 403

The head was originally turned outwards, obviously towards a fourth
figure, of which a staff" held slantwise near legs of third youth is still
visible. Thus the relief is a fragment of a larger composition, which
apparently represented travellers. Petersen conjectures that we have
spectators of a scene which originally passed further 1., and com-
pares the design on a vase at Munich, Arch. Zeit, i860, PI. 139.
Pentelic marble. The fine Greek style, the tolerably round relief and
the scene itself remind one strongly of a relief in the Villa Albani
(Zoega, Bassinl., 11. 103), which Petersen has explained as the
expedition of Theseus to Hades (Arch. Zeit., 1866, p. 258, cf.
1877, p. 122). From the Cawdor collection. According to the
Account the quarter whence the relief is derived is not known ; ac-
cording to the Engravings it came from Greece. [*j'/]

The following plates of the Engravings, 130 — 143, possess
neither accompanying text nor lettering on the Plates, nor indication
of the corresponding numbers of the Account. In the copy in the
Gottingen library, presented by Blundell's heir, and again in the
copy at Ince Blundell Hall, one single plate is marked in writing, PI.
140 and 141. These plates contain almost exclusively cinerary
urns, mostly derived from the Villa Mattel ; such cinerary urns are
meant where nothing else is stated with respect to the following
numbers, 311 — 372. As to the inscriptions, which I have not been
able to compare, I am not in a position to guarantee either their
reading in details, or their genuineness ; certainly there are many
spurious legends amongst them.

311 (368). Eugr. 130, I. Two boys holding a garland of fruit;
three birds. On field for inscription : T. Cam\deni Eutuchi.
(Genuine?) Cf. Alon. Matth., in. p. 164, no. 15.

312 (358). Engr., 130, 2. Mon. Matth., in. 71, 2 (different lid).
Two spiral-shaped fluted columns, from which a garland hangs
down with an eagle. Below, two birds. Inscription : C. lulius \
Hirmaiscus (i.e. Hermaisciis) \ vixit ann. XXL

313 (344). Double cinerarium. Engr., 130, 3. Mon.
Matth., III. 65, 4 (different lid). Two bearded masks with ram's
horns like an Amnion ; below two eagles and between them a gar-
land. Inscription I: Lepidia M{arci) j (i.e. mulicris) l{iberta) \ FrI-
rata. \ vIxit ann. XV. Inscription II: M. Lepidius \ Epigonus.

314 (361). Engr., 130, 4. Mon. Matth., iii. 69, 5 (different lid).
Rich mouldings and frame to the field for the inscription : El/io
Rufo I S. I. Habra fecit \ et sibi et siiis \ Sempronia | P. I. Atige \

I 26 — 2

404 INCE BLUNDEl.L HALL 315 — 32O.

Sempronius \ 01. Vrhaniis (spurious, still absent in the Men.
Matlh.).

315 (351)- Engr. 131, I. 2. Two rams' heads support a gar-
land, over it a butterfly, below, two birds. On side a palmette.
Inscription : D.M. \ Have Ettphrosyne \ et vale. \ Aemilia Cantria \

filiae dulcissiinae \ posuit itifelix. The whole field for the inscription
and rest of upper part of cinerarium is new. [C]

316 (394). Double cinerarium. Engr., 131, 3. 4. On front
three pilasters, on rounded lid an eagle, on side two arcades between
pilasters. Inscription : T. Pcdiicaeus T. f. Quiriina) Florus v{ixit)
a(/in.) XXI. ; in field on 1. : T. Pediicaeus \ T. l(ibertus) Faustics \ Pe-
diicaea T. l{ib.) \ Daphne uxor; in field on r. : T. Peducaeo \ T. f.
Qiiir. I Severe filio \ vix. an. VIII.

317 (352). Engr., 132, I — 3. Pilasters at the corners; between
them on front a door widi inscription above, and on each side of it a
cypress (ears of wheat according to Mon. Matth.); on the sides, 1. a
jar {guttus), r. a cup {patera). In field of pediment two females
formosae superne, desinentes in piscem hold a wreath. Round bolsters
serve as akroteria, those on 1. and r. furnished with a Medusa's head,
that on the top with a flower, with a dolphin on each side. Inscrip-
tion : D{is) AKanibus) Si^xcrum) \ Q. Curiati \ Zosi/ni. Cf Alon.
Alatth., III. p. 164, no. 11.

318 (393). Engr., 132, 4 — 6, the front repeated 139, 4. At
corners of front, spiral Corinthian colunms, from the capitals whereof
a garland of fruit hangs down, partly covering a door, the panels of
which are adorned with Medusa heads to ward off" harm. On each
side of door a grifiin. On each of the sides between a pilaster and
the corner column an eagle setting both feet on a snake, in the back-
ground a tree. On the lid two masks at the corners, in the field of
the pediment between them a wreath. Inscription over the door :
DIs Manibus Sacrum \ M. Burrio Felici iairon (i. e. patrond) \ bene
7)ieretiti fecit \ M. Burrius Hermes \ M. Burrius Curius \ et Burria
inbumini (perhaps Filiwiene or Diadumcne) | M. Burrius Vaimitts \
M. Burrius Aliiciis \ M. Burrius Abascanus (i.e. Abascantus).

319 (396). Engr., 133, I. Mon. Matth., in. 73, 2. Without
special ornaments. Inscription : D. M. \ Liviae P. f. \ P. Livins
Fort una tus | libertae. (Spurious.)

320 (385). Engr., 133, 2. Mon. Matth., in. 68, 3 (somewhat
deviating in lid and ornamentation). Inscription : Q. laelius \ Pri-
fnigenius \ vix. annis XX. Is the inscription copied from the speci-
men in Mon. Matth. ?

INfT. RI.UXDF.I.L HALL 33 I— 329. 405

321 (353)- Engr., 133, 3. Mon. Mattli., in. 68, 5 (different
lid). On either side four flutings, in the middle the inscription : D.
M. Niimi' siae | Primi\geni' ae.

322 (392). Engr. 133, 4—6. Mon. Matth., iir. 61, 5 (different
lid). Surrounded by insignificant ornaments, the inscription:/?. J/ |
T. PubliHu(s) Severiami(s) \ fecit \ Publilio Sei'eriano \ patri h{e?ie)
vi(erenti). On ends jar and cup.

323 (371)- Engr. 134, I. Mon. Matth., ill. 73, 5 (different
lid). Two bearded heads with ram's horns like an Ammon support
a garland, in the curve of which a swan walks. Below, two
eagles at the corners, between them two birds pecking at a lizard.
On the lid a laden basket and two birds. The field for the inscrip-
tion contains in the Mon. Matt/i. only the letters D. M., to which
has been subsequently added T. Flavi Aug. lib. \ Zmaragdi, borrowed
from Mon. Matth., in. 73, 6.

324 (373)- E'lgf; 134, 2. Mon. Matth., iii. 71, 4. Bucrania
supporting a garland. Below at the corners, swans. Inscription :
£>Is manibits \ Cn. Pompei \ Cn. f. Iiisti \ v{ix). a{nn.) XVI M{ens).
VJIII. On the lid a vase with fruits {}); on either side a pan-
ther (?).

325 (381). Engr., 134, 3. Mon. Matth., iii. 68, 6 (different lid).
From a vase, on the rim of which two birds sit, spring two sprays of ivy
{area hedcracia, Orelli-Henzen, 7359) surrounding the inscription : DIs
Manibitis) \ T. Flavi Sp. f. \ Eutyche \ vix. ann. V m{ens.) \ d{ieb!)
XXIX. fcc{it) I Flavia Pcloris mater.

326 (356). Engr., 134, 4. Folding doors with two rings, with
a tree at each side, from which a garland hangs slantwise before the
door. Above door a basket with fruits (a butterfly according to the
Account) at which two birds peck. At the comers Corinthian spiral
columns. On the lid a wreath.

327 (357)' Engr., 135, I. From two bucrania a spray of ivy
hangs down at which two birds peck. Above the inscription : D.
M. I Cornelia L. lib. \ Staphyle \ ben. (spurious or incomplete). On
the lid a double pediment with two birds in each.

328 (398). Engr., 135, 2. Mon. Matth., iii. 69, i (without in-
scription and with different lid). Two eagles hold a garland of fruit.
Spurious inscription: Dis Manibus \ Fulvano Arch.; apparently
copied from the cista, in other respects different, Mon. Matth., iii.
65, I.

329 (383)' Engr., 135, 3. Pilasters with architrave and pedi-
ment-shaped lid. In the middle inscribed on tablet : Q. Mllasius

40C IN'CE BLUXDEI.L HALL 33O — 335.

M.f.Arn. \ Bassus miles \ coh. VII J>r{aetoriae) j (\.q. centuria) \ C.
Petm Bassi. \ vLx. aim. XXXV.

330 (370). Eiigr., 135, 4. Mon. Matth., iii. 69, 2 (different
lid). Two sw-ans supporting a heavy garland sitting on two spiral-
shaped fluted pedestals of stout proportions; above the garland
two birds, below the same. On lower rim of lid the inscription
D. M., on the tablet L. Corndio lasoni | ef laeliae Chariti \ pareti-
tib(iis) suis I b(fru) tn(erentibus) fecit \ L. Cornelius Clemens.

331 (359). Engr., 136, I. Mon. Matth., iii. 60, 2 (different lid).
Between two upright torches stands a bed on which a woman (face
destroj-ed) lies in stola and palla, a fillet in 1. hand, with r. hand letting
a cloth fly loose. Below the inscription : P. Etrilius Abascantus \
Etriliae Danae uxori \ karissimae. H. 0-24. L. 0*3 5. \_M\

332 (369). Engr.y 136, 2. Mon. Matth., in. 5S, 4 (different
lid). At the comers two dolphins diving down, snapping after two
litde fishes. A hea\y garland hangs down from their twisted tails; on
it stands a bird. Above it, inscribed on tablet : DIs Man. \ Haviae-
ICysae \ Astectus (probably Asfictiis) Aug. lib. \ a cognitionihus \ li-
bertae bene de se nuritae.

333 (364)- Engr., 136, 3. Between two singularly bare sprays
stands a candelabrum with a griffin sitting on each side. Above, the
tablet with the surely spurious inscription : D. M. \ RutUia \ Ro-
mano I animae \ bene merenti. The lid, which is not its own, dis-
plays in the pediment a lion tearing its prey, and on either side a
tragic mask. The whole urn conve)'^ a suspicious impression.

334 (366). Engr., 136, 4. Mon. Matth., in. 65, 6 (without
inscription, with different lid). At each of the comers a spiral column.
The inscription on tablet encircled by a garland : D. M. \ luUae
Mcroe \ eoniugi | karissimae \ q{uae) r-(i.v-). an. XXV m{ens). II
diieb). XI I Rujinus Z. f. \ feeit b{ene) m(erenti). (Spurious.) On
lid an owl, on either side a palmette.

335 (3^°)- Engr., 137, i — 3. Front: two Cupids grasping each
other's hands for the purpose of wrestling; between them, on the
ground, a palm branch. On 1. a third Cupid stands looking at them,
clutching at two palm branches. Before him on the ground an over-
turned pitcher; above him on a pedestal a larger pitcher, and in back-
ground three palm branches. On r. a fourth Cupid, holding an unrecog-
nisable object before his body, is leaning as spectator on a table, on
which stands an amphora. Behind it a beardless temiinal bust, with
fillet on hair. Before this a heavy wTeath. Over principal group is
inscribed on tablet : D. M. \ C. Minuius | Gelasinus \ sibi posuit.

IKCE BLUNDELL HALL 336—343. 407

Cf. Mon. Matfh., m. p. 163. L. side : a wingless Cupid blowing
tuba, r. hand lying on head. On 1. a beardless terminal bust with
fillet on hair, by it two palm branches. On r. a palm tree. R. side :
the prize table with lion's feet supports a large amphora and two
small vessels or wTeaths. On r., a palm tree laden with fruit.

336 (363). Engr., 138, I. Bust of a child framed in a muscle
shell ; on either side a swan. Next on either side a tripod adorned
with masks. Inscribed on tablet : D. M. C. Q. F. Ian. \ Carpidi et
Q. \ C. Q. F. lusto C. I Amaryllis \ mater fecit. Inscription cer-
tainly spurious, probably also the whole urn.

337 (379)- Round urn, shaped like a band-box. Engr.,
138, 2. On either side a Dioskuros with egg-shaped hat, chlamys
and spear, by his horse. Below, a river-god, half covered in cloak,
lying on 1. arm, holding a bundle of reeds in r. hand. Above him
inscribed on tablet: D. M. \ C. Iu/{io) Iuli\ano cohi. \ jnil. urb{anae)\
XII b . m. \fec(it) luli a mater \filio suo \ bene merenti. (Spurious.)

338 (412). Engr., 138, 3. Two boys bearing a rich festoon of
fruit. Above them inscribed on tablet : D. M. \ L. lulio Basso
Domitia Nice \ coniugi pientissimo \ b{ene) m(erenti) fiecit). On the
lid a double pediment, each part with a portrait, with a bird on each
side ; bearded masks on ends.

339 (378). Engr., 138, 4. A garland hangs down from two
rams' heads; above, an eagle with extended wings; below bvo butter-
flies. Inscription: D. M. \ A. Plautius Gallus \ Hermeti lib(erto).\
vix. an. XLI m{ens). IIII. On lid a wreath.

340 (401). Cippus. Engr., 139, i. Below, inscribed on
tablet : DIs Manibus \ T. Flavi Eutacti \ vixit annis XXXV \ Flavia
Folia I coniugi karissimo fecit. Above, bust of deceased, beardless,
between flutings. From the Borioni collection.

341 (367)- Engr., 139, 2. A heavy garland hangs down from
two richly decorated candelabra, within it an eagle with extended
vvings. Inscribed on tablet : D. M. \ Friscae | Augustor{um sen'ae) \
vix. an. XVII. On lid a crown and two masks at corners.

342 (382). Round urn shaped like a cista. Engr., 139, 3.
Curved flutings running round it. In front two dolphins diving
down into the waves. A heavy garland hangs down from their tails.
Inscribed on tablet : D. M. \ Antoniae \ Gemellae \ Diadumaius \

pientissimae \ fecit. \ vixit annis XXXllI.

343 (391)- Engr., 140, i. Mon. Matth., in. 73, 3. Within a
frame the inscription (spurious) : Rubria Prima \ Albaniesis I F.

40S INCE BLUNDELL HALL 344—353.

Rubrius Rev His Q Reutilis is given in Man. Matth.). \ amice have et \
vale : ego hie \ situs sum.

344 (399)- Engr., 140, 2 = 143, 5- <5. On a field in a frame
the inscription : D. AL \ et \ ciucrihus Q. C. \ P. F. (Spurious.)

345 (384)- Engr., 140, 3. Mon. Maftk., in. 6r, i. In a field
with rich border the inscription : £>Is Manibus sacni{iii). \ Ti. Claiidlo
Onesimo Acies \ lib. Claudia Felicula con\]ugi sua bene mereiiti \ fecit,
vixit cum eo ann\is XXI. (Suspicious.)

346 (389). Double urn. E7igr., 140, 4. Three roses both
on r. and 1., in middle a spiral-shaped ornament. Inscription on 1. :
D. M. I Calidiae Ursiliae (i.e. Ursillae) \ v{ix.) a{mi). XXXII m{ens).
VIdlJeb.) X I L. Calidiiis Bucidus \ libcrtae pientissim\ae et incovipara-

bili\ fecit; onx.: D. M.\ Telesphori Primitivi \ vixit an. VIII men.
Ill I diebus XVI horis X. \ posuil Onesimus \ pater. (Spurious ?)

347 (386). Engr., 140, 5. Mon. Matth., iii. 61, 3 (different
lid). Inscribed on tablet : D. M. \ Aurelia Her7nio\ne fecit Aurelio
Iii\geniw co7iiugi\karissimo. item Au\relius Philander \ libertus patro\no
mcrenti. (Suspicious.) On the lid the official cap {apex) of priests.

348 (380). E/igr., 140, 6. Two boys holding a festoon of fruit.
Inscribed on tablet : £). M. \ M. Ulpio Eutychc \ M. Ulpius \ Philo-
calus I fratri b{ene) m{erenti) f{ecit). The urn is besides richly de-
corated. On the lid a wreath, and at the corners palmettes.

349 (388). Round vase. E?igr., 142, i. The body decorated
with slanting flutings. Inscribed on tablet : Hyla \ vix. a(iin). I
m(cns). Ill I Ti. Claudius \ Epaphra \ filiofec{it).

350 (390)- Engr.., 142, 2. On either side a column and a spray.
Inscribed on tablet : D. AI. \ AI. Rifrius AI. L Philapfiphus \
Rufia (sic) AI. I. Iucuii(da) soror \ argimdi. (Spurious.)

351 (387). Round vase: slim form. Engr., 142, 3. Not
ornamented with any representation of figures, but mere decorative
designs. (Genuine ?)

352 (375)- Engr., 143, 3. 4. Two bearded heads with horns of
Ammon support a double garland raised in the middle over a button.
Below, at each corner a swan, in the middle two smaller birds.
Above them inscribed on tablet : Severinae Procillae \ ossa hie sita
sunt. I L. Severinus L. f. viatri fecit. (Spurious ?) On sides a
palmette, on lid two birds pecking at a twig.

353(537)- Round vase : cup-shoped. Engr., 144, i. 2. On
front a thick border of vine-leaves round a tablet with the inscription
Ossa I Q. licinii Felicis ; back entirely covered with branches of
ivy. In place of a handle on each side a bearded mask crowned

INCE BLUNDEI-L IIAI.I. 354 — 363. 409

with ivy, with broad ribbon on forehead, of elegant hieratic style.
From the Bessborough collection.

The following Cineraria from the Mattei collection arc not
copied in the Engravings.

354 (348). Mon. Matth., in. 61, 2. In a field with a frame
the inscription Ossa \ L. Antoni \ Felicis.

355 (349)- Double cinerarium. Mon, Matth., in., 71, i.
Two inscriptions on fields with frames ; \.:D. M. \ L. Alanlio \
Philargyro \ fee. Larcia Rufi\na coniiigi sua | d{e?ie) tn{erenti), v{ix).
a{nn). XXXXV, et sibi; r. : D. M. \ Larcia Rufi\na coniu\gi suo
b. m.

356 (350). Mon. Matth., in. 65, 3. Two bearded heads with
horns of Ammon support a garland ; below it at each corner a vessel
full of fruits. Inscribed on tablet : D. M. \ M. Clodio Casto.ri mater
fecit \filio piaiti5sim(p).

357 (362). Between two griffins a tablet with the inscription
M. Sahurius Ligus \ Fa/{erna) Albintimili (i.e. from Albintimilium,
now Ventimiglia) | cvoc((itiis) Aug{usti) sal{arioruni) VI \ vix. ann.
XXXVIII \ prof ccit ex coh{prte) V \ pr(aetorid). Cf. Mon. Matth.,
III. p. 125.

358(395). Mon. Matth., ni. 6q, 2,. On a field within a border :
£)is Manibus \ M. Terenti\us Stephani liber t us \ Restitutiis et Crocale
Kberta eiiis Carviliae \ mammae suae be\ne meritae \d'\e se. (Sus-
picious.)

359 (416). Inscribed slab. Mon. Matth., in. p. 139. Dils
Manib(its) \ Atiliae Phkgusae \ M. Herennlus Felix \ fecit conlugi \
bene merenti.

The following sepulchral monuments derived from other pur-
chases are likewise not copied in the Engravings.

360 (346). Cinerarium. Inscription within a frame : Paeti \
M. Claudi \ Paeti, in three adjoining fields.

361 (347). Double cinerarium. Inscription, 1. : Aninia
Asterio sibi et fratri suo ; r. : C. Julius Speratus.

362(374). Double cinerarium. Inscription, 1. : Z). iJ/ Tr^-
ti7'ae fec{it) Hermes pater; r. : D. M. Flaviaes Onesimes, vix. ann.
XXVII

363 (377). Cinerarium. Cujwds at the corners leaning on
torches. Two hovering Cupids hold the tablet below them, 1. a bow, r.
a quiver. Above, horns of plenty. Inscription: Oppiae Thisbe\coniugi
incon\parabili, frugi, \ integrae fidei \ C. Oppius Eutych\cs maritus
b{ene) m(erenti) fiecii). \ vix. a{nn). L V widens). I d{ieb). Ill Cf.

4IO INCE BLUNDELI, HALL 364 — 375.

Engr., 155, 6. On each side a grifRn. H. 0-20. L. 074. From
the Bessborough collection. \M'\

364 (403). Sepulchral monument. Three busts, which
appear to be of a husband and his two wives. The inscription is
given as follows : Mallia Mifprofida tiata a/in. X totidem m. II. v.
a., L. Alallius L. I. Clemens., Perpentea M. L. I. Prima. (Spurious.)

365 (405). Sepulchral inscription, bulky; on a field within
a rich border : Ti. Claudius Riifus, vixit mensibus XXX.

366 (406). Sepulchral monument, with the inscription :

4>Xaoviav Ai;|pr;Xiai' MaJKapi'tti' <j>i\av^8fiov yuvaiKa | Avp7j\iOi Yyeilviavos

yXvKv\TdT7] (Tvixj3i(o. (C. I. Gr., 3347.) Cf. £/!gr., 155, 5. Probably
from Smyrna. From the Bessborough collection.

367 (413). Relief, given out to belong to a sarcophagus. The
ornaments and sea-horses are curious ; between them on a square
tablet : Z>. M. Q. Qtcintio Eutycheii (i.e. Eutycheti) Quintii Euty-
chianus et Victoria ex testamento fecerunt nutritori suo. vixit aim. CV
m{ens). V d{ieb). XXVII

368 (414). Inscribed slab : D. M. Aur. lohiuus mil(cs)
coh{ortis) III pr{aetoriae) \centuria\ Q. Rufini. vix. an. XXX, inil{ita-
vit) an. VI, nat{ioue) Bcssus. Aur{elius) Martinus eq{ues) singularis
/ier{es) et lulius Marcianus secuudus /ier{es) et contubernales b{ene)
in[erenti) /[aciendum) c(iirai>eruni).

369 (415). Inscribed slab: D. M. Verriae Nicopolini Ti.
lulius Epitynchanus coniugi b{ene) m{erenti), cum qua vixit annis
XXXV sinae ulla querella, fecit et sibi.

370(417). Inscribed slab. Z>. 31 Ulpiae Sabinae comug{i)
opiimae et dulcissimae et bene mcrenti P. Rufinus Ephestion locum co?i-
cessiim et donatum ab heredibus Flavi libaiii, quae posita est infra hanc
tricliam in lo?ig{uin) p{ed). VII, in lat(iim) p(ed). V. (Suspicious.)

371 (551)- Cinerarium, with rams' heads and two Cupids
with inverted torches. Inscription : Dils Manibus C. Munii Screni
sacrum. Bought at Lord Mendip's sale.

The Account further enumerates the following reliefs :

371 a (267. P). Modern copy of a so-called Choragic Re-
lief. [=^]

372 (269. S). A lion's head.

373 (274)- A charioteer in the Circus running full speed in
his quadriga. There appear also the metae.

374 (275- S). Fragment of an oval sarcophagus. A lion
walking 1. : on his neck a ribbon with a bulla. H. o-6o. \*M\

375 (27^- T). Front of a sarcophagus. Two hovering

INCE BI.UNDELL HAI.I. 3/6— 391. 411

Victories hold a medallion {chipeus) with half-length portrait of a boy.
On both sides a Cupid with torch. Below the Victories horns of
plenty, also on 1. a bow, on r. a quiver. [J/]

376 (281. T). Fragment of sarcophagus. Aphrodite or a
Nereid sits on a sea monster, 1. hand supported, looking r. On the
beast's tail sits a Cupid with a garland. Above, a dove (?). The
Account further mentions a boy with inverted torch, [il/]

377 (282. T). Fragment of a child's sarcophagus (oval).
A Cupid sits on a rock asleep, leaning on the inverted torch, by him
a quiver. On r. stands a Cupid with crossed legs holding be ore
him slantwise a staff (? torch ?) with both hands. On 1. a third Cupid
retires with a garland in his hands. [J/]

378 (288. S). Slab of a sarcophagus. Two hovering Cupids
support a shell with the portrait of a woman, head-dress in style of
third century A.D., who holds a roll. Under her a nude female figure,
recumbent, with high stephane, a swan in her bosom (Leda ?), sur-
rounded by four Cupids. On her 1. first Oceanus, semi-nude, with a
steering paddle ; then a sea monster ; on her r. first Tellus, draped,
with a cornucopiae; then a Cupid frightening two companions by
a large mask which he holds before him. Of the two latter one
covers his face with r. hand and advances 1. to protect himself, the
second falls on his back with fright. (Cf Pitture di Ercolano, i. PI.
34.) At ends trees, from which quivers are suspended. Very rough
work. [J/]

379 (290). Medusa's head, probably from a piece of archi-
tecture.

380 (294). Satyr's head, with pointed ears, of savage ex-
pression. Bought from Volpato.

381 (296). Eagle, standing within a wreath of foliage, with
expanded wings.

382 (297). A face.

383 (300). Medusa.

384 {301). A boar, lying down, and having a dog at each end
of it

385 (302). A head in porphyry, small.

386 (303). Medallion in alto relievo, called Sapjiho.

387 (305). A comic mask.

388 (306). A mask of Dionysos.

389 (310). Two Medusa's faces.

390 (317). Seven masks, which are all singular in their kind.

391 (335- 'i')- Relief from a sarcophagus. A herdsman

412 IXCE BLUNDELL HALL 392—396.

sits in exomis and boots, facing r., leaning on his staflf, at his side the
herdsman's wallet. Beneath his seat a sheep, before him on r. three
more sheep in two planes one above the other, and three trees.
From the Villa Borioni. [M]

392 (340). Discus, with three masks.

393 (524- Portico of P, above the main entrance). Front of a
large sarcophagus. In the middle a powerful lion, pursued by a
hound, bounds 1. towards a bearded horseman in tunic and cloak,
whose raised r. arm belongs to the restored piece of the rehef.
Under the same a second bearded horseman with sleeved tunic and
cloak bounds towards the lion ; before him a bear and an ibex lie
on the ground killed. Above the lion a third horseman with waving
chlamys brandishes his sword. A fourth horseman and a helmeted
warrior further r. raise their swords against a panther springing
r. behind the lion, while below in the r. corner a bearded man in
sleeved tunic and cap cowering on the ground holds his shield
before him for protection from the danger. Very large dimensions.
The relief is derived from Hadrian's Villa. For the purchase, cf.
on no. 221.

394 (535). A small sarcophagus. " In the front is a Greek
inscription in verse ; on each side of it is a curious bas-relief." From
the Bessborough collection. (In the Engravings, PI. 153, 154,
besides no. 366, are four Greek inscriptions given as derived from
this collection, but there are no verses among them. They seem
all to have come here from Smyrna, see C. I. Gr., 33 iS, 3385,

3337> 3349-)

395 (540- P)- " A. square altar; doubdess of the time when the
worship of Serapis and Isis had spread into the Roman empire, for both
of these divinities are represented on it in the forms of Roman art.
The head of Serapis is wanting. [According to the Account, " Isis,
with a sistrum and inverted cantharus {sifula) 1, and a male figure
with a spear in his hand, and a serpent springing up at his feet."
One might therefore suppose it to be a priestess of Isis, as they
often occur with a man also at their side on Greek sepulchral
monuments.] Besides this, each side contains, in strict architectural
arrangement, two torches, a nilometer [a sistrum according to the
Account], and a patera. Opposite is the colossal mask of Jupiter
Ammon, of common workmanship." From the Bessborough collec-
tion. The specimen serves as pedestal for no. 43. [ f F]

396 (546. S). Slab of a sarcophagus : of unusually large size;
in the middle, folding doors with Corinthian columns on both sides

INCE BI.UNDF.I.I. IIAI.L 397— 404. 413

which support a pediment, doors somewhat opened ; on each door a
lion's head in the upper panel, in the lower a Cupid leaning on the
inverted torch. On both sides curved flutings. On each end the
figure of the good shepherd on a pedestal. From the Bessborough
collection. [CM]

The two following specimens are not in the Account :

397 (G). Front of a sarcophagus. Two hovering Victories
hold a medallion with the bust of a l)oy. lielow this a block of
rock, on either side of it a snake attacking a recumbent lion. At
the corners Cupids with a garland. Cf no. 375. [J/]

398 (S). Middle piece of a fluted child's sarcophagus.
Bust of a boy. Below, two tragic masks. [J/]

Miscellaneous Objects.

399 (3°7)- Support for a table slab (trapezophoron),
consisting of the fore part of a recumbent lion with 1. paw laid on an
animal's head. Engr., no, 3.

400 (308). Support for a table slab (trapezophoron),
consisting of the fore part of a winged griffin ; below, ornament of
vine branches. Engr., no, 3.

401 (507). Shallow cup ; with two handles, on a square foot.
Engr., no, 2. Richly ornamented, but apparently, at least for the
most part, work by Piranesi, from whom the cup was bought, 1777.

402 (440). Helmet. Engr., 120, i. Of round shape with a
sphin.x on the crest, a griffin on the curved sides. The very large
front piece is decorated with a ram's head. The emblems are
suitable to Athena; the helmet is supposed to have been broken off
from a head of that goddess.

403 (442). Boot. Engr., 120, 2. It seems to be a fragment
of a statue of a warrior ; the boot has an overfold of leather at the
top and is very richly ornamented (imitating embroidery?).

404 (270). Vase showing Bacchic figures, in different
attitudes. It was found in a cava near Monticelli, not far from
Tivoli, and was so much decayed and corroded, that it was necessary
to re-work several parts, and new polish the figures ; this gave it the
appearance of being modern. The repairs were made by Piranesi.
Bought from Volpato.

I pass over a number of fragments {Accoimt, nos. 420, &c.),
columns (nos. 449, &c.), tables and miscellaneous objects (nos. 473 ff.);
still the following may be briefly noticed :

414 INCE BLUNDEI.L HALL 405 — 4II.

405 (400). Antique glass urn. " When it was first found, it
contained ashes and bones, with some lachrymatories, and a lamp, as
may now be seen in it. Some ancient money was also found in it."

406 (418). Small glass urn, found in a Columbarium, near
Naples. " It contained two lachrymatories, which are now in it,
and some ashes."

407 (494). Three painted Greek vases, with various figures
on them, bought at Naples, in 1777.

408 (495). Twelve small Greek vases, of different sizes
and forms ; some are ornamented, others plain. Bought from Cava-
ceppi.

409 (498). A bronze lamp, hanging by a chain which is
curiously wrought. Bought from Mr Clarke, at Naples.

Mosaics.

410(252.8). Thetis before Zeus ? i?;/-/-., 96. From the
1. a female figure with arms advanced ("Juno"), fillet in hair, with
white chiton, red cloak and blue shoes approaches Zeus, who sits on
a throne with a high back standing on two steps. Near his 1. foot sits
the black eagle. Hair and beard of the god brown. A gray cloak
covers his legs and upper part of 1. arm. Zeus supports his 1. hand,
which raises the sceptre, against his head. In r. hand he holds the
thunderbolt with which he points out the female suppliant to Nike,
who is turned away facing r. and writes something with a stylus
on a yellow shield standing on a pedestal ; quite corresponding in
attitude to the Victory of Brescia. She wears a white chiton and
red cloak; 1. foot resting on a helmet which lies on the ground.
Large gray wings visible on her back. The eflfect of the colouring
is very simple ; the work tolerable. The representation agrees well
with the scene in the first book of the Iliad (495 ff.), where Thetis
entreats from the Father of the gods honour and fame for her sorrow-
stricken son. Found in the ruins of an old villa near Torre Pignatara
on the Via Labicana. H. o-68. L. 0-63. [* /F]

411 (448). Six pieces of mosaic, being part of the floor of a
large room. " In the centre of each piece are some curious figures :
on one is a jay looking into a mirror, on another is an ibis holding in
its bill a serpent, &c. [According to Waagen : in the centre a bird
and three fruits and a rabbit alternately, all enframed in tendrils of
the same pattern.] Found in the ruins of an ancient house near
Tivoli; bought from La Piccola [cf. no. 17]. Near r6o sijuare
each piece." [ IV\

KETTERIXCIIAM HAIL. KINGSTON HAIL. 415

412 (529). An antique mosaic, which now forms the slab of
a table. According to W'aagen a naked slave is strewing fodder
before two oxen ; behind is an ass looking upward. According to
Account: buildings and cattle. Bought together with no. 221. \IV\

413 (S). A female head in profile, of colossal scale; com-
posed of very coarse pieces, but still imposing in effect from the
grandeur of the forms. [ \V\

Gf.ms.
Engr. 151 and 152 contain twenty-four gems belonging to the
collection, for the most part of such suspicious appearance, or indeed
so absolutely modern, that I do not describe them in detail.
Waagen, p. 259, describes five specimens, while at the same time he
states that there are several hundred intaglios, many of them of great
interest and value.

KETTERINGHAM HALL (Norfolk).

Waagen, Trcas., iii. pp. 427 f.

Not far from Wymondham, between Ely and Norwich, is situated
this countiy seat of Sir John Boileau. Waagen enumerates the
following marbles :

1. " Marble relief found at Nimes : a female figure with one
foot on a vase holds to a woman opposite to her a mirror consisting
of two circles attached together at one part, so that they could be
folded together. The workmanship is moderate, but the action of
the figures is very good."

2. " Small statue in marble, pronounced by Visconti to be the
statue of a Roman prince, presented under the form of a young
Hercules. Very good style, delicate execution; well preserved in
the principal parts."

3. 4. " Two busts of Emperors, one of them a Nero."

KINGSTON LACY (Dorsetshire).

In this residence of W. J. Bankes, Esq. there were in 1S35 "'''e"
the second volume of Specimens of Anlient Sculpture appeared, the
undermentioned specimens. I have been lately informed that they

4l6 KINGSTON HALL I, 2. KNOLE PARK.

are still there, in the possession of the present owner of the estate,
Walter Ralph Bank.es, Esq. They are placed upon the staircase
of the house.

1. Marble bust of Arsinoe, found in Alexandria, brought
from Egypt by Consul Baldwin and sold by auction 1828. Spec, 11.
PI. 40, 41. Hair parted, flowing down in rich folds on both sides
and leaving the open brow free. Head crowned with a stephane
pierced with several holes by way of embellishment. Lobes of ears
also pierced. Back of head missing ; it was worked from a separate
piece, perhaps of different marble, and was very likely veiled. The
bust was evidently intended to be let into a statue. Features of ideal
beauty. " The style of sculpture is broad and grand, and the execu-
tion of the face and throat remarkably fleshy; it is also in good con-
dition, and has no other part restored excepting the tip of the nose."
H. 0-46.

2. Bust of "Augustus," in green basalt, life size, found near
Can opus in Egypt about 1780, bought from Mr Baldwin's collection.
Spec, II. PI. 46. The hneaments of this narrow face, the very large
nose, the arrangement of the hair, differing from what is seen in all
portraits, both of the youthful and the aged Augustus, make the
traditional nomenclature most improbable. Beautiful bust, in a high
state of preservation, with the same kind of hard delineation and
perfect polish as in the bust of Caesar carved in like material in the
Berlin Museum.

KNOLE (Kent).

Dallaway, pp. 382 f (11. pp. 134 f). Spiker, 11. p. 285. Waagen,
Treas., iv. pp. 337 i.

In Knole, near Sevenoaks, the ancient seat of the Dukes of Dorset,
there are a few antiques which John Frederick, third Duke of
Dorset {aec 1769, d. 1799), had collected in Italy. The more exact
date of the Duke's purchase has lately been yielded by the records
which the Pope's chamberlain office has kept of the exportation of
works of art (see Gori, Archivto storico della Cittet e Provincia di
Roma, II. pp. 267, 268). Among them occur the two following
entries : 1770, 7 Agosto. Duca di Dorset: 4 colotine antiche di giallo
di pal mi 11; u?i busto imperiale Imono , 2 teste parimente antiche ordi-
narie incogjiite ; una piccola statuetta afitica di marmo di donna ideate
alta palmi ^■.. 28 Agosto. Jl Duca Dorset: busto di Marco Aurclio
antico ordinario ; altro di tnarmo di giovane iiuognito con altro consimile

KNOI.E I. 417

(ii dctto, incognito ed antico ; tiri crma di Socrate antica marmorea ; una
testa di marmo antica incognita ; un Amorino addormentato [no. 5] ;
//// Bassorilia'O antico... The specifications are too vague for one to
attempt an identification of the several specimens with the marbles
at Knole, yet it seems that some of the above-mentioned specimens,
such as the small female ideal statue, are no longer to be found.
Knoie was, in Waagen's time, in the possession of Lady Amherst,
the eldest daughter of the collector, and is now the property of Lord
Sackvili.e, the collector's grandson. I visited the collection in the
year 1S77.

Hall.

I. Statue of Demosthenes, from the Columbrano Palace in
Naples. Visconti states that it was found in his time in Campania
{^Miis. Pio-Clcm., III. p. 63 Mil.). Drawings of it are given in Fea,
Storia, n. PI. 6. Schroeder, Abbildungen des Demosthenes, Brunsw.
1842, PI. 2, 6. G. Scharf, Trans. R. Soc. Litt., New Series, iv.
fig. 5. Cf. Fea, /. cit., in. p. 458, Visconti, Iconogr. Gr., i. p. 356,
O. Jahn, Zeitschr. fiir die AltertJmms-Wiss., 1844, p. 238, Scharf,
/. cit., p. 13, Michaelis, Arch. Zcit., 1862, p. 239. As the drawing
in Fea is from a cast in the possession of Jenkins, who had also
bought other antiques from the Columbrano Palace, this dealer was
doubtless concerned in its purchase. The statue is a fairly exact
replica of the Vatican statue from the Villa Aldobrandini {Braccio
Nuoi'o, no. 62, Miis. Chiaramonti, 11. PI. 24, Pistolesi, Vaticano, iv.
PI. 19), only that the stomach is rather more prominent and that the
very realistic reproduction of all external minutiae is not so tho-
roughly carried out. In general the work is not very delicate and
detailed, but in recompense for this the statue has remained almost
free from any retouching. In excellent preservation, with the excep-
tion that the upper part of the body, especially the upper parts of the
arms, have evidently been for a long time exposed to the rain, and
are in consequence much corroded ; the lower parts, especially the
drapery from the belly downwards, are preserved in unimpaired polish
and freshness. The head has never been broken off. Pupils are not
expressed in sculpture ; a trace of colour in their place is probably
cf modern origin. New : merely nose, toes of 1. foot, two first of
r. foot, and lastly, the hinder part of the irregularly-shaped pedestal.
Presumably in consequence of a fall, to which we must also ascribe
a crack in the 1. forearm, both hands with the roll, the 1. from above
the wrist, the r. with half the forearm, have been broken away just
iM. C. 27

41 8 KNOLE I.

where these parts stand clear of the bulk of the statue. The parts
broken off are however, Waagen's testimony notwithstanding, un-
doubtedly antique, and have been put on again by dint of smoothing
the fractured joints and of sundry small patches. The quality ol
the marble, as well as the condition of the surface, which accurately
corresponds to that of the adjacent parts as to the destructive effects
of the rain, testifies to the genuineness of these parts. Unfortunately,
however, the restorer has found it necessary to work over seriously
the under sides of the hands, especially in the finger joints (the latter
as in the case of the ArroUno in Florence or the dying Gaul in the
Capitol) ; the veins are also more prominently marked. This retouch-
ing extends to the neighbouring part of the 1. forearm. The result of
this investigation, in which I quite agree with Scharf's conclusions,
is of some importance, as the roll is thus established as an original
element of our replica. In the Vatican replica the forearms with
the roll are, as is well known, restorations, and Martin Wagner has
endeavoured to prove from the pose of the genuine portions of the
arms that the restoration is wrong, and that the hands were originally
folded (Annali, 1836, p. 161). In this way the statue would corre-
spond to the bronze statue of Demosthenes, which was executed by
Polyeuktos and erected in the agora of Athens at the public cost
about B.C. 280, also with folded hands (Plut. Demosth., ch. 31).
Visconti had already conjectured that the statues were identical;
subsequently, however, he abandoned this conjecture, but it has since
been taken up again by others. The statue at Knole is calculated to
prove that Wagner's view respecting the restoration of the Vatican
statue, considering their complete agreement in all other points, is
more than doubtful ; and further, that these statues are at least no
direct copies of the statue of Polyeuktos. Perhaps, however, there
is something to be said in favour of their being only a 'slight variation
on this statue, the main features of the composition being retained.
With regard to this view I should not lay much stress on a terra
cotta statuette in the late Campana collection, now presumably in
Paris, which, while agreeing with our statues in all other points,
has the hands folded; for the specimens in that collection are
seldom free from tampering. The peculiar mixture, however, of a
pregnant representation of the inward life with a vigorous naturalism
in the treatment of all externals indicates an original of the Hellenistic
period such as that of Polyeuktos. The fact that all extant portraits
of the orator go back to a common original is a further proof of its
celebrity. In fact this statue, so far from being of simply ideal

KNOLE 2. 419

beauty, offers us a speaking portrait of the man who, though en-
dowed by nature with a frail body, developed his powers by dint of
iron energy and the most strenuous intellectual toil, and who amid
the storms of perplexing and sinister conjunctures stood his ground
unflinchingly in the face of rancorous foes i t home and abroad.
The face furrowed by wrinkles, and the almost gloomy earnestness
of the features, find a complement in the scantiness of the drapery^
which is far different from the flowing drapery of the Lateran
Sophokles, or the rich profusion of folds in the Neapolitan Aeschines.
Exactly thus is Demosthenes depicted in the well-known epigram
which stood beneath his Athenian statue (Plut. Demosth., ch. 30):
" had the piercing intellect and the strenuous will been supported
by proportionate strength, they might have rescued his fatherland
from Philip." While, consequently, the impression conveyed by this
statue is in harmony with our idea of the portrait by Polyeuktos, the
supposition also seems to be justified that in a later period, when De-
mosthenes had come to be admired more as the great author than as
the afflicted patriot, the motive of folded hands was changed for the
less significant, but more easily intelligible, attribute of a half-opened
roll of manuscript, while the statue remained essentially unchanged in
other respects. In matters of detail we may mention a hole pierced
in front through a corner of the drapery which hangs down under the
1. hand ; for what it served is not clear. The sandals, with their
straps, are rendered with especial care in all details. The marble
seems to be Pentelic, and indeed of a fine-grained quality, similar
to that of the Florentine group of Niobb. H. 1-95, with pedestal
2 -08. \*W\

.SlAIRCASI'..

2. Statue of sleeping Nymph. She lies on her back with
legs crossed. L. arm rests on a block of rock, the hand touching
the rim of a large urn which lies on the ground. R. arm, adorned
with an armlet, lies slantwise across the breast, hand on 1. shoulder.
Head sunk back; the abundant hair traversed by a ribbon. A wide
drapery covers legs, back, and 1. arm. New : half lower parts of
legs, rock under 1. arm, a great part of back and hips, probably also
the 1. hand, possibly the face and several minutiae besides. This
statue had been broken into several pieces, and in piecing them
together the surface has been so much smoothed away as to present
an appearance of polish. Consequently the impression conveyed,
which can never have been pleasing, has become quite disagreeable.

27—2

420 KNOLE 3 — 7.

The antique part of the r. leg has taken a brilliant gold-bro\vn hue
owing to oxidation or to contact with some metal. Otherwse of
very white marble. Found at Roma Vecchia by Gav. Hamilton.
L. 1-43. [*]

3. Head and neck of a youth. Hair curly. Shows cha-
racteristics of Lysippos. Coarse work, and moreover very much
rubbed away and spoilt. New: nose; lips injured. Back of head
and of neck broken off. [*]

4. Bust of " Brutus." Similar in character to the late Roman
heads with hair and beard close-shaved, scarcely more than indicated
by punctures. Eyebrows rendered in a somewhat artificial style.
New : nose. R. arm covered by a vague piece of drapery, neither
tunic nor cloak. A button on r. shoulder holds up the fringed cloak
which covers breast and 1. shoulder. Below this shoulder near the
breast there appears the upper part of a round staff furnished with a
knob, beneath which the hilt and sheath of a small sword or dagger
is visible; this extraordinary appendage is all the more strange as
it is outside the cloak. As moreover the very thick pedestal, which
on account of its shape can scarcely be antique, is of one piece with
the bust and head, the entire specimen is more than suspicious. It
may indeed have been the intention of the artist to represent a
" Brutus with a dagger" (Dallaway). H. i-oo. H. of head 0-23, of
pedestal 0-28. [*]

5. Statue of sleeping Eros, with attributes of Herakles.
Legs crossed ; head resting on 1. hand, 1. arm on 1. wing. R. hand
lies on a small club. A lion's skin serves the winged god to lie
upon. By his foot creeps a little lizard. New : only tip of nose.
Broken off : great toe of r. foot, part of 1. wing and head of lizard.
Coarse-grained Greek marble. L. o-8o, of Eros about 070. [*]

Antechamber to Private Apartments.

6. Bust of Antinous, from Hadrian's Villa, found 1769 by
Gav. Hamilton, sold to the duke by Jenkins (Dallaway, p. 370).
Head looks down somewhat sideways. Hair very thoroughly worked ;
brows slightly indicated. In place of pupils a slight flattening of the
eyeball is noticeable. New: nose, head and bust Antique parts
seriously worked over. Very white marble of fine grain. L. of face
about 0-23. [*]

7. Head of a bearded Greek : colossal scale. It may
perhaps belong to the fourth or third century B.C. The fillet which

KXOLE 8—12. 431

traverses the abundant hair denotes a distinguished personage.
Lower half of forehead strongly developed, whole form of face broad
and powerful ; expression calm and clear. This remarkable head is
in excellent preser\'ation. New : merely neck, bust, part of tip of
nose and details in hair. H. of genuine portion about 039. L. of
face 0-27. [*]

8. Roman portrait head. Thin beard and thick, tolerably
smooth hair. Bust covered with a drapery, the button of which on
1. shoulder is ornamented with the bust of a warrior. Nose restored.
The whole piece very suspicious. Pedestal certainly modern, pretty
much like that of the so-called Brutus, no. 4. H. 073, without
pedestal 0-54. L. of face o-i6. [*]

9. Roman portrait head of a youth. Beardless; with
curly hair much undercut with the drill. Pupils indicated. Late
period. New: nose, breast with drapery, pedestal. L. of face
o-i8. [*]

10. " Marcellus," bust including part of body (^poTo/xif).
Pleasing, pretty, youthful head, inclined somewhat towards r.
shoulder. Mouth finely cut; eyes somewhat veiled by the lids.
Hair cut short in front, combed over forehead, falling down deep on
the neck. The strange mannerism of the hair, which is treated as
though it were straw, strongly suggests modern retouching. H. 0-62.
L. of face o-i8. [♦]

11. Head of "Caesar," colossal scale: doubtless representing
in truth a man of the latest period of the Roman republic, but
certainly neither Cicero nor Caesar. The latter name is perhaps due
to the likeness of its pendant (no. 12) to Pompey. A distinguishing
feature is the lofty forehead traversed by a furrow. Hair short and
beginning to get scanty. Deep eyes. Strong creases extend from
the nose downwards. Finely modelled lips. Expression calm,
earnest, almost melancholy, goodnatured and benevolent The
impression conveyed is that of a noble, thoughtful, but not very
energetic man, somewhere between fifty and sixty years of age.
New : nose, three quarters of upper lip, ears, bust and pedestal.
Coarse workmanship. H. of genuine portion 0-40. L. of face 0^29.
The head was presumably discovered with no. 12. [*]

12. Head of "Pompey," colossal scale. Found 1769 by
Gav. Hamilton in Hadrian's Villa, sold to the duke by Jenkins
(Dallaway, p. 370). Apparently a companion to no. 11, being of
similar dimensions and treatment. It has in fact some resemblance
to the statue in the Spada Palace, though not strong enough to

422 KNOLE 13—16.

justify the traditional nomenclature. Hair full and curly. Low
forehead much furrowed, eyes in shadow. Eyebrows slightly in-
dicated. The lower part of the face has calm features and conveys
the impression that the man leads a contented existence. New : half
the nose, the edge of the ears, bust and pedestal. H. of genuine
part o'38. L. of face 0-25. [*]

13. Roman portrait head. Of singular, wicked expression.
Lower part of face projects in an extraordinary manner ; this has all
the stronger effect as the upper teeth seem to be wanting. Lips
closely pressed together. Nose aquiline, but the tip quite obtuse.
Brows wrinkled. The expression of energy is intensified by the turn
of the head to its r. Antique : head, except 1. ear, and neck. Very
fine-grained white marble. H. of genuine portion 0-33. L. of face

0-20. [*]

Garden.

On the outside of the house, near the state drawing-room, there
is built into the wall :

14. Fragment of a child's sarcophagus. Five Cupids in
procession moving r., coming from a banquet. All wear little cloaks.
The first (a) looks round at the second (/') who is emptying a cup on
the shoulder of a, and holds a drinking-horn in r. arm. The third
Cupid, f, raises 1. hand and with r. lowers a torch towards d who lifts
up a wreath with his 1. hand and is tumbling back into the arms of a
companion e, of whom only the hand supporting d is left. The
slab is imperfect on both ends. L. 075. H. about o-iS. [*]

Conservatory.

15. Fragment of a relief. Towards 1. stands Zeus, full face,
with cloak thrown over legs and 1. arm, r. hand resting on hip,
r. arm leaning on a stout staff In consideration of this attribute
one might suppose Asklepios to be intended, only that the goddess
at whom he gazes seems to be assuredly Hera. She sits on the r.
on a square block, draped in a chiton and cloak, which she airs in the
well-known manner with r. hand as if it were a veil. Head adorned
with a stephane. The fragment is broken off towards I. At the top
a projecting border seems to be chiselled away to the level of the
plane of the field. Apparently a Greek original is copied in this
Roman relief. Treatment of relief angular. H. 0-42. L. 0-43. [*]

16. Relief of Orpheus. In the middle in rocky scenery sits
a man, of almost childish smallness of stature, in short chiton and

KXOLK 17. LIVERPOOL I, 2. 423

with Phrygian cap, playing on a curved flute. He would be taken
for a herdsman, did not the scene rather suggest an Orpheus. For
about him are placed a boar listening very attentively, a goat, a ram,
a lion or panther mangling a horse (?), and so evidently not yet fully
tamed by the art of the musician, a bear (?). On the 1. remains of a
tree. On the 1., and perhaps on the r. also, imperfect. Very rough;
merely sketched. H. 0-27. L. o'34. [*]

17. End of a child's sarcophagus. On the 1. stands a
herdsman in exomis, leaning on his staff, r. hand laid against head.
Further to the r. two trees, then two cows and a sheep, lying down.
Everything seems in repose. Rough work. H. o'zS. L. 040. [*]

LANSDOWNE HOUSE, see London.

LIVERPOOL.

Conze, Arch. A/iz., 1S64, pp. 218 ff. I inspected the Museum,
1877.

The public museum possesses an abundance of the most varied
kinds of art treasures, owing to the bequest of Mr Jos. Mayer (Introd.
§ 97), and to many additions besides ; still it cannot boast of many
antiquities of great consequence, and in particular owns only a few
marbles. The multifarious connections of Liverpool trade with the
Levant, give promise that the Museum will receive further additions
in this department.

1. Bronze statue of Apollo. He rests on r. leg, which is
crossed by the 1. On the crown the hair forms a top-knot (Kopv/t/Sos);
long, stiff locks fall down on the shoulders; pupils hollowed out.
Lowered r. arm without doubt held the plectron ; 1. arm rests on
the lyre which with the piece of rock beneath it is modern. The
Ijroad proportions of the body are singular in connection with
Apollo. Roman bronze from Aries. Not bad. H. 0-69. [*]

2. Marble statue of Herakles. The hero is seated leaning
back on a rock on which the lion skin is spread. Bow and quiver
as well as cuirass and shield are leaning against the rock. Herakles
sets 1. foot on another shield, the advanced r. foot on a coat of mail.

424 LIVERPOOL 3—7.

Both arms missing. In front, on the quadrangular pedestal, remains
of an inscription :

HERCVLI invicto (?)
SAcrKOT

Perhaps identical with C. I. Lat, vi. i, 322, Heradi invicto sacrum \
M. Claudius Esychus d. d. " sub farva statua Herculis cum clava et
exuviis." Very commonplace work. H. 0-45, with pedestal 0-58. [*]

3. Statuette of a female figure, in ungirdled chiton, the
cloak wrapped round lower part of body. She rests on r. leg behind
which she crosses the 1. and leans with 1. arm on a column in easy
pose. Missing : head, raised r. arm, fingers of 1. hand, front half of
r. foot. Superficial workmanship. The low plinth seems to in-
dicate that this figure was carved in Asia Minor (cf. Oxford, no. 9).
H. 076. [*C]

4. Torso of a boy, or youth, including r. thigh and upper
part of lowered 1. arm. Missing : raised r. arm, head and the greater
part of the legs. On the 1. of the paunch is a trace which shows
that the arm went along this part; there are moreover traces of a
support behind the r. shoulder-blade and r. thigh. Good sculpture.
H. 0-5I. [*]

5. Terminal figure of a youth with long curls (Apollo?),
mutilated in the region of the virile emblem. The Term is placed
against a pilaster which is somewhat expanded at the top, and has a
hole in its upper surface. Dry, mean workmanship. H. of pilaster
0-85, of figure 0-78. [*]

6. Sepulchral stele of Herodotos. The slab is furnished
at the top with a cornice, only a little decorated. Below, the
inscription 'Hpoooros SkuAXi'mfos. | j? t/do0os cTreo-nytrEi'. In the relief
stands Herodotos, apparently beardless, in cloak, holding out r.
hand to an unveiled woman sitting to the r. On the 1. behind
Herodotos the faithful nurse, who has dedicated the sepulchral monu-
ment to her charge, stands in full face, veiled, head supported on 1.
hand. Common style of the second or last century b. c. Coarse marble.
H. 0-66. L. 0-31. From the mouth of the aqueduct at Ephesos.
Brought from Smyrna. Presented by E. Bibby, Esq., 1875. [*]

7. Sepulchral stele with pediment. A beardless man lies on
a bed with a thick fillet or wreath about his hair, draped in chiton,
and with cloak round his legs. He holds a cup in 1. hand and
with r. is throwing something into a low tliree-footed incensc-buiner

LIVERPOOL 8 — II. 425

(^/xtanjpiov, tttribuhim), which stands on a table supported by three
lion's legs. At the foot of the bed sits the wife, veiled, both hands
in cloak, turned away from the body of the man, her face turned
back towards him; feet resting on a broad footstool. On the 1.
a diminutive attendant crowned with a wreath enters holding in
lowered r. hand as it seems a spoon (Tpin^Xis, tnilla), rather than a
rhyton or a strigil. Above in the field a horse's head, a round shield
with a Medusa's head, a corslet, collectively emblems of deceased's
rank. The monument is in good preservation. Style unusual ; archi-
tectural design and relief very sharply cut, precise but dry ; though
not in style, yet perhaps in the purely external technicalities of the
working of the stone, the relief may suggest Cyprian sculptures.
Perhaps this is partly the effect of the quality of the stone, which is
of very fine grain but quite full of tiny prints of shells (Ai'^os Koyxm/s),
of yellowish colour. The specimen is derived from Egypt, and
belongs to the last centuries B.C. H. 070. L. 0-53. [*C]

8. Fragment of a Cyprian sepulchral stele. All that is
preserved is a piece of the border on the 1. and the upper part of the
body of a woman sitting facing r. in fine chiton, veiled, with a neck-
lace and a ring on forefinger of raised 1. hand ; the r. hand is grasped
by the hand of a second figure, of which only r. forearm is preserved.
An interesting imitation of the Attic composition so common in
sepulchral reliefs of the fourth century ; about life size, in the pecu-
liarly dry, frigid style of Cyprian sculptures. Nude parts especially
quite devoid of life (cf. O.xford, no. 127). Very high relief. Cyprian
hmestone. H. 0-96. L. 0-46. Presented by Captain Fothergill,
S.S. Thessalia, 1872. [*J/]

9. Sepulchral monument of Epaphroditos. Round
column with clumsy, curious articulations at top and bottom,
furnished with a hole on the top for fastening on an ornament or a
vase. On the pillar the late inscription 'Eirai^poStTat (ai= e) | ^■f)crT\\
Xa'pt From Cyprus, of native limestone. H. o'68. Diameter at
base 0-22. [*]

ID. Terra cotta sarcophagus, quite plain, with projecting
flat border at the top. On the front is painted the inscription
nXoTrXei'as kcu. Kai 'Aya^ojjvos. The first name is presumably a mis-
spelling for IIoTrXeias (IIoTrXtas, Publiac) ; koI is repeated by an
oversight. H. 0-27. L. I'Sg. B. 0-50. Found near Karatash, the
ancient Mallos in CiUcia, on the gulf of Scandaroon, Dec 1872.
Presented by Capt. Pernie, S.S. .Ararat, 1873. [*]

II. Sepulchral monument of Picaria Tertia. Above, a

426 LIVERTOOL 12— 19.

portrait head of a girl framed in a shell ; on either side a dolphin.
Below the inscription : Diis Manib{us) \ Publicia Tertia \ Picariae
Tertiac \ filiae suae bene \ merenti fecit. \ vixit ann{os) X. | /i{ic) s{ita)
e{st). H. 0-56. L. 0-34. [*C]

12. Large Etruscan urn ; Oedipus and Laios ? Oedi-
pus (?) presses forward from 1., in armour and with shield and
drawn sword, against a chariot, one horse of which is rearing high, a
second lies on the ground. In the background two Furies with
torches. Laios (?) covered by his shield is falling over the chariot,
to the r. of which three more horses are visible, one springing up,
one springing at " Laios," one thrown on to the ground. Quite r. an
armed attendant of " Laios " is fleeing off, looking at the scene of
disaster. Prof Koerte considers the subject to be rather the death
of Hippolytos. Apparently alabaster. H. o'6o. L. o-8o. The hd,
showing a man with a cup in his r. hand, does not belong to the
urn; it is too large. [*C]

13. Small Etruscan urn; Eteokles and Polyneikes.
They are killing each other. On either side a Fury. The colours, a
dull red and a greenish blue, are very well preserved. A female
figure on lid. Terra cotta. H. 0-26. L. 0-40. [*C]

14. Bronze relief of Athene, full face. Cat. Hertz, PL 3, i,
p. 129, no. S {Cat. Mayer, no. 142). The goddess is represented
en face, head covered with a round helmet, the vizor of which stands
upward over the forehead. The aegis with gorgoneion covers the
breast ; 1. arm holds the large round shield, r. hand raised (to grasp
the spear). Good bronze intended for an antefixum, broken at the
feet. H. 0-13. [*C]

15. Small medallion of bronze, silver-plated. Head of
Drusus. Found at Xanten (Castra Vetera) on the Rhine. [C]

16. Etruscan mirror. Nude female winged figure with
Phrygian cap, hovering towards the 1. ; in r. hand a ball (? apple ?).
Cf Gerhard, Efr. Spiegel, PL 32 ff. [C]

17. Etruscan mirror. Nude woman between two seated
youths; in the background an architectural design. Cf. Gerhard,
/. at., PL 59. n

18. Etruscan mirror. A youth, leaning on a staff or thyrsos,
to whom a panther holds out its paw. The freedom of the delineation
arouses suspicion of the genuineness. [(?]

19. Mirror-case with a relief. Paris kneeling on an altar,
a palm branch in 1. hand, in r. a sword, on the 1. a warrior, on the
r. a winged female figure with double axe raised to strike. Cf
Gerhard, /. cit., PL 21, i. [C]

LIVERPOOL 20 — 26. 427

20. Mirror with drawing in raised outlines. Perseus (Fc-rse)
and Minerva {Meiterca) looking at the reflection of the gorgo-
neion in the water. Even in the ornaments of the border an accurate
imitation of the mirror in Gerhard, /. cH., PI. 123, with the sides
reversed (so that Perseus holds the harp in his 1. hand) and with
the error menerea for menerfa ; the inscriptions besides running
from 1. to r. Undoubtedly a modern imitation. [*C]

21. Eros sitting on a large dolphin, which he guides with
reins. Small Greek terra cotta figure. [C]

22. Fragment of a terra cotta relief. Upper parts of a
veiled bride and her pronuba, the latter with stephanfe on hair.
Exact replica of the relief in Guattani, Mouum. Iiied., 1785, April,
PI. 3, 3. Campana, Opcrc di plastica, PI. 64. Arch. Zeit., 185 1,
PI. 26, 2. [C]

23. Terra cotta relief. Five gods, from 1. to r. ; Apollo
standing in repose with a lyre of modern shape ; Tychfe standing
with cornucopiae ; Hephaestos seated, in e.xomis, with round cap
and boots, hammer in r. hand, tongs in 1.; Athene standing, with
helmet, aegis, shield with gorgoneion, and cloak, r. arm raised high ;
an owl on her shoulder. Hermes standing, with a cock on his
shoulder; he holds a purse in 1. hand, and lays his r. on the herald's
staff. Not restored, broken across once. Certainly modern. H.
0-33. L. 0-44. [*C]

24. Vase with large body, from Canosa, with three open-
ings carried up like necks (similar shape to that in Heydemann,
Vasens. iti Neapel, PL 3, no. 168). In front a Medusa's head, above
it two Cupids ; on either side of the principal opening the fore part
(irpoToiirj) of a galloping Centaur. On the top three small statues,
Dolon between Odysseus and Diomedes, exactly answering to a
vase-painting from Pisticci {Bullett. NapoL, I. PI. 7. Overbeck,
Bildwerke, PI. 17, 4). On the handle there slinks Dolon, beardless,
clad in chlamys and hood, both arms raised (without weapon).
On the lid of the 1. opening Odysseus advances, with pointed beard,
in chlamys and pointed cap (ttiXos), without a weapon in his hands ;
similarly on the lid of the r. opening advances Diomedes, bearded,
with high helmet, boots, and floating chlamys, now without a weapon.
The vase seems to have been considerably restored, though it is hardly
possible to judge accurately to what extent. H. o'65. [*C]

25. Smaller vase from Canosa, with a Nike and other figures
on it. [C]

26. Pitcher (shape: Heydemann, PI. 3, no. 137, only broader).

428 LIVERPOOL 27, 28. LONDON.

A youth in chlamys pursues with drawn sword a bearded old man
draped in chiton and cloak, holding a sceptre, who looks round at
him. Red figures. Good style. [*]

27. Kantharos (shape : Heydemann, PI. i, no. 43). Red
figures. Front. Boy with chlamys, a strigil (.'') in 1. hand, stands
before a dog ; behind him a plant. Over him the inscription
Xpvcrnnroi, not however painted on the background, but left in the
original colour of the clay, as are also the figures ; still, in spite of
the thoroughly unusual technical process, the inscription seems
genuine. Back. A bearded man in cloak, leaning on a staff, stands
before a grave, on which is a stele with the inscription Aa'i[os]. In
spite of many peculiarities and of the neighbourhood of several
modem forgeries, there seems to me to be no definite ground for
suspicion. [*]

28. Lamp with a head, perhaps antique ; fastened as a pro-
jection on to a cubic die, the three other sides of which are orna-
mented with figures of deities in relief; by one is incised TXija-wv 6
'ii€dpxo{v), by another x«'P« «"' "■"' ''> two inscriptions often repeated
on painted vases. This is naturally a forgery. [*]

Besides the above, the collection further contains a quantity of
unimportant painted vases, terra cottas, lamps, Samian
vessels, bronzes, w^eights, leaden missiles for slings, gold
ornaments, glass objects, amphora handles, Roman sepul-
chral inscriptions, &c. &c. Of especial value is the collection of
ivory diptychs, once belonging to Gabriel Feje'rvary, subsequently
bought by Jos. Mayer, and presented to the Museum. See Catalogue
of the Fejcrvdry ivories in the Museum of Jos. Mayer. Preceded by an
essay on antique ivories by Francis Pulszky, Liverpool, 1856. The
most beautiful and celebrated specimen is the diptych with Asklepios
and Hygieia, well known through Raf Morghen's engraving (Miiller-
Wieseler, 11. 61, 791).

LONDON.

The existence of private collections in London is perhaps still less
generally known to the public than is the case with those in other
parts of the country. Since the Hope collection was removed to
Deepdene, the Rogers collection sold, the Guilford collection com-
pletely lost sight of, the only large private collection still left is that

LONDON, APSLEV HOUSE t. 429

in Lansdowme house, which is in truth one of the best of all. In
addition there are the Soane Museum, the antiquities exhibited from
time to time in the South Kensington Museum, and several smaller
collections. No doubt many omissions in this section will at once
strike persons who possess fuller information, and it is to be hoped
tliey will be supplied.

Antiquaries, Society of, sa liurlington House.

Apsley House (Hyde Park Corner).

In the Duke of Wellington's town house there are in a vestibule,
which leads to the small staircase, adorned by Canova's famous
colossal statue of Napoleon, sundry Roman busts.

I. Bust of Cicero ; the celebrated bust from the Mattei col-
lection, which was a short time in possession of Cardinal Fesch
(1815 : cf. Urlichs, Glyptothek, p. 58). Drawings in F. Ursinus,
Imagines, PI. 146. Mon. Matth., 11., PI. 10, 11. Visconti, Icotwgr.
Rom., I. PL 12, I. The bust closely resembles that in Madrid, the
identification of which is established by its inscription (Huebner, Ant.
Bildwerke in Madrid, Frontispiece) ; being similarly inclined a little
to the 1., and furnished, below the breast, with the antique inscrip-
tion CICERO, which Marini ascribes to the third century. The value
of this bust is, however, much diminished by the serious, though
well executed, restorations ; not only chin, mouth, and nose, that is to
say, just the especially characteristic parts are restored, but also the
whole r. half of the forehead upwards from the middle of the eye to
pretty high up on the head, 1. eyebrow with upper eyelid, a piece of
1. part of forehead, half the ears, and lastly both shoulders. The
rest has been broken in several places. Very life-like are the creases
which extend downwards from the nose along the mouth, so also are
the creases on the neck. The deep sunk, not very large, eyes also
have an animated effect. Workmanship not very careful; curly hair
only a little worked out. The bald part of the head is pretty ex-
tensive. Pupils and brows not expressed. The bust, the tablet
(H. o'04) with inscription and the low round pedestal (H. o'o8) in
the form of an Attico-Ionic base are all unbroken and form one

430 LONDON, APSLEY HOUSE 2—9.

piece. Greek marble, apparently Parian ; the restorations are made
partly in Thasian, partly in coarse-grained Parian marble. Total
H. 0-62. L. of face 0-24. [*]

2. Bust of Athene, somewhat bent 1. A so-called Corinthian
helmet covers the hair, which is simply combed in waves to the sides,
as in the case of the Amazons, and falls down on the neck tied up into
a knot of moderate dimensions. Shape of face oval, but not so
much so as in great part of the later heads of Athene ; similarly the
expression is thoughtful, but not sentimental. New : whole neck
and breast, tip of nose and part of helmet. The rest has been much
broken. Beautiful Parian marble. H. of genuine parts, o'4i. L.
efface o'i8. [*]

3. Bust of Lucius Ursus. Visconti, Iconogr. Rom., i.
PI. 9, 3, 4. A bald crown with rather scanty hair at the sides and
behind. Head looks r. somewhat. Forehead wrinkled, lips thin,
expression of mouth energetic. New : nose and ears as well as
shoulders, the bust has never been broken. Below this, a low tablet
(H. o-o6) ; the inscription runs L. Vrsutn cos. Ill | Crescents lib. (C.
I. Lat, VI. I, 1432). L. Julius Ursus Ser\-ianus, husband of Ha-
drian's sister Paulina, was consul for the third time in the year
A.D. 134, being the last private citizen who held the office. Two
years afterwards, when 90 years old, he was put to death by the
order of his brother-in-law, the Emperor (of Visconti, /. cit, pp.
303 ff.). The expressive, but by no means delicate execu-
tion, is far removed from the laboured elegance of the busts of
Hadrian. Pretty seriously worn. Italian marble. Total height
o'55. L. of face 0-20. Formerly in Rome, in Visconti's time in
Paris. [*]

4. Bust of Septimius Severus, of little merit. Pupils
expressed. New: nose, breast and pedestal. L. of face o'2 2. [*]

5. Bust of Lucius Verus, still worse. New : nose, upper
lip, neck, breast and pedestal. L. of face 0-19. [*]

6. A bust of a warrior with helmet, eyebrows wrinkled,
and (7) a bronze bust of Vitellius are new, as also is (8)
Alexander the Great, a copy of the bust at Blenheim (no. i),
which is exhibited in the Hall. [*]

9. Statue of Eros as a child. He sits on a rock and lets
the r. leg hang down, having drawn up 1. foot and set it on the rock ;
both hands rest on the knee. Curly hair arranged along the parting
in a sort of plait. He looks down in the direction of r. leg, at some-
thing which fixes his attention. Pleasing conception. New: greater

LONDON, ATKINSON — CKICHTON. 43 I

part of wings, parts of feet, of hands and of 1. knee, pieces of the
pedestal. H. 0-64. [*]

Mr Atkinson.

Mr Atkinson, residing in the neighbourhood of St John's Wood,
is said to have a number of Athenian works in marble, among which
are named several Fragments from the Parthenon, as a gift of
Lord Elgin's. I have not hitherto been able to learn anything more
specific about the matter; it seems extraordinary that Lord Elgin
should himself have made his collection of sculptures from the Par-
thenon incomplete.

C. S. B.\LE, Esq.

The choice collection which Waagen found in the house of Mr
C. S. Bale (Treas., 11. p. 332) was sold at Christie's in June, 1881.
It consisted of antique gems; Greek and Roman coins, espe-
cially in gold; gold ornaments; Etruscan candelabra, and
painted vases.

Burlington House (Piccadilly).

The Society of Antiquaries possesses, with the exception of
Anglo-Roman remains, no Greek or Roman antiques of particular
value. Cf. A. Way, Catalogue of antiquities, coins, pictures, and mis-
cellaneous curiosities, in the possession of the Soc. of Ant. of London,
1847. Some Attic vases arc perhaps worth noticing (Waagen,
Treas., 11. p. 326), and the gold ornaments from Ithaka given by Dr
Lee.

Colonel Maitland Crichton.

Colonel Maitland Crichton, 29, St James' Place, possesses a
beautiful female portrait bust, formerly in the possession of the late
Andr. Coventry, Esq., of Edinburgh, who wrote a paper on it {Trans.
Ji. Soc. Edinburgh, xx. P. 3, 1852, p. 417). It is under life size, very
delicate, especially in the shape of nose and mouth and in the
virginal expression. The curly hair which surrounds the head in
waving masses and forms a small knot on the neck is prettily treated.
The resemblance to the " Clytia" of the British Museum (Graeco-

432 LONDON, T.ORD ELCHO.

Roman Sculpt., no. 149. Huebner, Bildniss einer Roemerin, Berlin,
1873) is unmistakeable, only our head is more youthful and it has
not the long curled tresses falling down on the shoulders. These
very points increase the likeness to the portraits on coins of An-
tonia Augusta, younger daughter of M. Antonius and Octavia,
wife of Drusus, mother of Germanicus and Claudius, which Mr R.
S. Poole has recognised in the " Clytia" {Encyd. Brit, 8th ed.,
Numismatics, p. 385 no e i. Huebner, p. 9). New : tip of nose
and details on r. ear and hair. The head is of Parian marble. It is
placed upon a draped bust of Carrara marble which is a little too
large for it. H. 0-49. L. of face 0-14. Found in Tusculum by
Lucien Buonaparte (1818?), sold by Capranesi to Mr J. Rhodes
and thus passed to Mr Coventry, uncle of the present owner. [*]

De Mauley, see Mauley.

Devonshire House (Piccadilly).

The Duke of Devonshire keeps in his town house a collection
of Gems containing 546 specimens, some of them of the greatest
value, see Waagen, Treas., 11. p. 78 (i. p. 95). For the rest cf Chats-
worth.

Lord Elcho.

At Lord Elcho's residence, 23, St James' Place, Waagen,
{Treas., iv. p. 64) saw the marble head of a youthful Dionysos
with a large bandeau round his head. "The ideal conception of
this god is here rendered with uncommon beauty, and, with the
admirable workmanship, displays the hands of a Greek artist of no
ordinary skill. The greater portion of the nose, and almost the whole
lower lip, are modern." As the neighbouring house once belonged
to Lord Guilford, and as I know from certain sources (cf. Introd.,
p. 161, note 432) that on leaving the house he left behind him
several fragments of Greek sculpture that had been l)uilt into the
wall, it is not impossible that this Dionysos is derived from the

LONDON, FORD, FRANKS. 433

Guilford collection. At any rate among the many and divers an-
tiques which Brownlow North, Lord Bishop of Winchester, son of
the first Lord Guilford and brother of the minister, Lord North, had
collected in Italy and displayed in the episcopal palace in Chelsea
(Introd. § 59), there is mentioned, as an especial ornament to the
entrance hall, " an antique juvenile bust of Bacchus, much admired "
(Faulkener, History of Chelsea, i. p. 294). The bishop died in 1820,
Winchester House was pulled down and its contents dispersed.
At that time the bishop's nephew, Frederick, sth Earl of Guilford,
himself a zealous collector (Introd. § 88), lived in the house 24,
St James' Place, so that the bust may have been taken thither.

Richard Ford, Esq.

At the residence of Rich. Ford, Esq., Waagen (Treas., 11. p.
226) saw "the torso of an Aphrodite in Greek marble, e.xcavated
at Rome in 1840. The goddess is youthfully conceived, of very
noble and slender proportions, and of decided Greek workmanship."

Augustus W. Franks, Esq.

Aug. W. Franks, Esq., F.R.S., keeper of the Department of
British and Mediaeval Antiquities and Ethnography in the British
Museum, possesses two collections of old drawings from Antiques
(see Matz, Arch. Zeit., 1873, p. 34).

I. A collection derived from Ch. Townlev. It now fills a
very large portfolio, the drawings however have for the most part
been detached from two parchment volumes (designated on the
backs as Bassirilievi diversi), which in their externals fully corre-
spond with Vols. XIII. — XVI. of the collection at Windsor. The
green edging of the sheets still observable in many places, the
consecutive numbering, the kind of paper, and the whole character
of the drawings make it quite certain that they constitute fragments
of the collection of the Commendatore Dal Pozzo (see on Windsor),
though intermingled with foreign elements. With this view, more-
over, a MS. notice of Townley's falls in — " From Macgowan's Sale,
Feb., 1804. Formerly in the Albani collection, and sold at Dalton's
Sale at Greenwood's about 1790 " (more accurately, 1791, as another
M. C. 28

434- LONDON, GUILDHALI., HAMILTON.

notice of Townley's shows). George III. had bought that collection
of drawings, now in Windsor, from Cardinal Albani (Introd. § 50);
in what way two volumes of it may have got into the private posses-
sion of Dalton, who died as Royal Librarian at Windsor Castle, is
not known. Air Franks' collection is singularly rich in drawings of
Sarcophagus reliefs. The contents will not be individually
enumerated in this place ; a more exact account is left to be given on
another occasion. [*J/]

II. A Folio Volume in Red Morocco with gilt edges. These
drawings are all in pencil and crayon and contain with many other
specimens for the most part vases in marble. The collection was
made by Don Gasparo d' Haroeguzman Marchese del Carpio e
Helicce, Spanish ambassador in Rome 1676 — 1682, subsequently
viceroy of Naples ; it comprises his purchases at Rome on the sale
of the collection of Cardinal Camillo de' Massimi (cf. Fea, Miscel-
lanea, I. p. cclxii.), and was meant to be published. There are in all
105 leaves. [•■71/]

Guildhall.

In the library of the Guildhall is a Roman lamp with a relief
of the enthroned Serapis (cf. Sante Bartoli, Lua-nie aiit., n. PI.
6), several fragments of red Samian pottery ware, &c., &c. [C]

W. R. Hamilton, Esq.

At the residence of the late W. R. Hamilton, Esq., Waagen
{Trcas., II. p. 333) admired, among various antiquities of Grecian
art, the fragment of a glass vessel, which surpassed in beauty every-
thing of the kind that he had seen.

In the Specimens of Ant lent Sculpture, the following marbles were
engraved and described as belonging to this gentleman :

1. Head of Berenike, colossal scale, in marble, of fairly
ideal character. Spec, 11. PI. 39. Brought from Egypt by consul
Baldwin (cf Kingston Hall). H. 0-39.

2. Head of Nike with mask of Medusa. Spec, n. PI. 44,
"Perseus." Annali, 1839, PI. K. "Minerva Gorgolopha" (Abeken).
Braun, Vorschule ziir Kunstmytlwlogie, PI. 59. Arch. Zeif., 1857, PI.

I.ONIJON, IIOI.I.AX]) IIOUSK, LANSDOWNE IIOUSR 435

97, "Aphrodite Parakyptusa" (Welcker). The correct interpreta-
tion is given by Helbig {R/icin. Museum, xxiv. p. 303), by his com-
parison of a Vatican statuette {Mus. Pio-Ckm., \\. PI. 11. Clarac,
IV. 636, 1442 ; better, Piranesi, Vasi e Candclabri, 11. PI. 64, 65) : it is
Nike who has conquered the foe by holding before her face the mask
of Medusa, and now pushes up the horrible object so as to view the
field of victory with her owti countenance. Found in Rome towards
the end of the last century, brought to Canova by a peasant, and
given by Canova to Mr Hamilton. The slab on which this very
beautiful head is fastened is presumably a modern addition.

Holland House (i, Addison Road, Kensington).

In Holland House Heydemann saw in 1873 a child's sar-
cophagus, which he described as follows {Berichie d. sacks. Gcs. d.
IViss., 1878, p. 133, note i). Front: In the middle are two Cupids
holding a shield with the inscription : D{is) M(anibus) \ Sextio
F(tibli) fyilid) I Cornelio \ Pal{atind) \ Ncptili\ano, q{ui) viixit annum)
1 1 m{enses) V. Below the shield stands a helmet. On the 1. three
Cupids; one sits holding a piece of iron on the anvil; the second,
standing opposite to him, is hammering at it with upraised arms
(forearms and hammer broken off); the third stands behind the
first and looks on. Behind the anvil the forge with blazing fire.
On the r. two Cupids, lifting up a long spear. Ends: a sitting griflln
on each. Wretched workmanship. In good preservation.

Lansdowne House (Berkeley Square).

Dallaway, pp. 340 ff., 368 f. (11. pp. 86 fif., 120 f.). His very scanty
notices are valuable because they rest on the statements of Ihe
librarian of Lansdowne Plouse [see Goede, England, Dresden, 1806,
IV. p. 43], and therefore are perhaps derived from the records of the
purchases, which, however, are now better known from the letters
published by Lord Edmund Fitzmaurice (see below). K. O. Miiller
in Bottiger's Amalthea, iii. pp. 241 ff. ( = Miiller, Kunstarchdolog.
Werke, 11. pp. 74 ff.) whom I denote by m. Waagen, Treas., 11. pp.
143 ff. (11. pp. 70 ff.). Clarac, iii. p. 176. Mrs Jameson's Cotnpanion
to the private galleries of art in England, London, 1844, pp. 332 ff.

28— 2

435 LONDON, LANSDOWNE HOUSE.

Michaelis, Arch. Anz., 1862, pp. ^t,t, fif. Arch. Zcit., 1874, pp. 35 flf.
I have been allowed to inspect the collection, 1861, 1873, and 1877,
pretty much at leisure.

The collection of antiques at Lansdowne House, formerly called
Shelburne House, is one of the most beautiful and valuable in
England, and also one of the most admirably arranged. Its founder
was the celebrated statesman, William, second E.\rl of Shel-
burne (family names Petty-Fitzmaurice), created 1784 first Mar-
quis OF Lansdowne, who built the house (Introd. § 60). During a
stay in Rome, 1771, he purchased the first specimens, which were
principally derived from Gavin Hamilton's successful excavations of
1769 (Introd. § 48), in the Pantanello (Hadrian's Villa). He also
entered into correspondence with Hamilton with a view to the
extension of his gallery and appointed him his agent in chief
Hamilton indeed projected the scheme of the whole collection and
had a plan of the Sculpture Gallery made by Panini, which was how-
ever eventually abandoned. He writes to Lord Shelburne (Jan. 18,
1772) : " The use of this gallery is to be a receptacle of fine antique
statues. I should therefore advise throwing our whole strength on
this point. I don't mean a collection such as has been hitherto
made by myself and others. I mean a collection that will make Shel-
burne House famous not only in England but all over Europe.'" He
has kept his word. His letters of the years 1771— 1779, lately
published by Lord Edm. Fitzmaurice {Academy, 1878, Aug. 10, 17,
24, 31, Sept. 7), give instructive disclosures about the first stage of
the formation of the collection ; the statements of fact given therein
have been used in the following notices in their several places with
citation of the particular letter'. Up to 1779 the greatest stress was
laid on the adornment of the Ball Room, called also the Sculpture
Gallery, a most peculiar room with a large semicircular recess like
an apse at each end. I>arge niches offered positions for magnificent
statues. Most of these were in their places about the year 1779, by
which time the manifold other adornments of the gallery were also sub-
stantially complete. Besides this room the Library and the Garden
are mentioned in the letters as requiring or adapted for adornment
by sculptures. It appears that about that time there came a pause in

^ I observe that no letter is missing before Letter IV., that Letter XXX. is
dated wrong or else placed out of order, that no. xxxi. should come next after no.
XXXVI., that no. x.xxil. manifestly belongs, not to 1777 ''"' 'o '774' ^nd 'h*' the
note of "July the I2th," no. x.x.xv., should be placed in the year 1776, as an
enclosure belonging to no. xxvni.

LONDON, LANSUOWNE HOUSE I, 2. 437

the purchases ; they were however taken up again subsequently (cf.
no. 61). None of the statues, for instance, in the Dining Room,
belong to tlie older purchases managed by Hamilton, so that the
scheme of adorning this room also with sculptures seems not to have
been originated until a later period, when it is probable that other
additional purchases were also made. It would be a good thing if
communications on this point could be disinterred from among the
archives of Lansdowne House. In the year 1805, Lord Lansdowne
died ; his eldest son and successor took over the collection of
antiques for ^8000 (or jQ-jooo according to Payne Knight, whose
own valuation amounted to ^^iiooo, cf Report from the E/gin
Committee, p. 99). He left them to his widow (1809), who again
transferred them by sale to her brother-in-law, Henry, the third
Marquis of Lansdowne (1780 — 1863). This competent connoisseur
added several works to the collection, including no. 57, and some of
the busts (Mrs Jameson, pp. 287, 334, xi.).

The description follows the order of the present arrangement.

ENTRANCE HALL.

1. Fragment of an Attic sepulchral relief, of the most
beautiful style. Arch. Zeit., 1880, PI. 9, pp. 81 ff. A piece of the
pediment is preserved, and below it on the epistyle the inscription
1; 8cri'a...]o/ieVo(u)s 6vyo.\rrip; below this the veiled head of a seated
female, a little bent down with slightly painful expression. A triple
fillet traverses the soft wavy hair. In the lobe of the 1. ear a hole for
an ornament Nose somewhat impaired. This very notable relief
belongs to the first half of the fourth century B.a Pentelic marble.
H. 0-67. L. 049. L. of face o'iS. The head projects o'i5S f"""^™
the field of the relief [*C ]

2. Relief. VVelcker, Alte Dcnkmaelcr, w. PI. 11, 19, "Homer."
Jahn, Griech. Bilderchronikcn, PI. 3, i. A man sitting on a chair
covered with a cushion under a tree, in the foliage whereof a nest
with birds is introduced. A snake is wound round the tree, menacing
the birds. The man is in a cloak, his 1. arm supported on his
knotty stick, which he holds with the r. hand. Under the chair sits a
griffin. This as well as the nest and the snake (cf Homer, //. B. 312)
has caused the subject to be interpreted as Homer meditating the
Iliad ; still it is questionable whether it is not rather meant generally
for a sepulchral monument in memory of a poet (cf. Michaelis in
Jahu, /. cit., p. 58, 123). The relief is seriously broken in the upper

438 LONDON, LANSDOWNE HOUSE 3 — 5.

part. A fracture runs over the r. shoulder through the hollow of the
throat slanting across the 1. upper arm and cutting off half the 1. fore-
arm ; the piece above this fracture is new. The head (new : nose,
parts of hair and trifling patches) is old and, like the bulk of the
relief, of Pentelic marble ; as however the veins of the marble in the
head run vertically, in the body horizontally, it is clear the head did
not originally belong to the relief (cf. Dallaway, p. 343). It is
assuredly a head of Hades; a hole on the top possibly may in-
dicate a modius, of which however no other trace survives. Nest
and birds mostly antique, only the lower half of the snake, the
remainder is modern. R. hand and 1. arm of the man with a piece
of the cloak make up a distinct fragment, but it is antique and
belongs to the relief Enough of the knotty stick is antique to
determine its right to be there. Of the chair the I. corner of the
cushion and the lower half of the 1. foot, the griffin's forelegs and
other trifles besides are new. Good Attic high relief Relief very
round, but treated somewhat superficially. Found by Hamilton
in Roma Vecchia (Dallaway, p. 379); he mentions it as "Aesculapius"
in a letter to Lord Shelburne, July 13, 1776. H. 1-35. L. o-yj.
Rehef is in some places raised as much as 0-25 from field.

3. Statue of a "boxer." Clarac, v. 851, 2180 A. A youth
resting on r. leg ; r. arm lowered, 1. raised. Antique : only the torso
(exclusive of the r. shoulder), the 1. leg to just above the knee, r. leg
to half-way down the calf, together with the upper part of the stem of
a tree. The neck is inserted as a patch. Head, very much effaced,
of Pentelic marble, while the torso is of Thasian. The youth may
have originally been pouring oil into his r. hand. Bought from
Hamilton for^2o (letter of May 30, 1775). H. 1-49. [*]

4. Statue of Apollo, "of the gardens of Sallust." Clarac,
HI. 476 A, 906 A. The god is draped with the chlamys, and extends
the 1. arm so that a distant resemblance to the Apollo Belvedere is
produced. The head, with hair in a top-knot, is re-set and much
effaced, but appears to be original. New : both arms from the
shoulders, lower half of chlamys, 1. leg, lower part of r. leg, and stem
with quiver. Poor, bad workmanship. Thasian marble. Bought
from Hamilton for £,2$ (letter of May 30, 1775). H. 1-50. [*]

5. Fine torso of a powerful man, in attitude of repose.
The r. arm was lowered, the 1. raised. Greek marble. Chisel marks
visible all over it. The impression from a little distance is highly
effective. The back also is very good. H. from hollow of throat to
pubis o"62. [*]

LONDON, I.ANSDOWNl': IlOUSIi 6 — 12. 439

6. Statuette of a warrior. Clarac, v. 972, 2510 B. The
bearded man in coat of mail with a cloak on 1. shoulder and round 1.
arm, extends his r. hand as if for an adlocuiio, and lets the I. hand rest
on a shield, which stands on a low pedestal. The sword hangs at the
1. side. New : neck, r. arm, the front of the rim of the shield. The
Conimodus-like head, with a thick wreath, perhaps its own (nose
new). Coarse work. Presented by Hamilton (letter of July 13,
1776). H. 073. ['"]

7, 8. Double terminal heads of the bearded Dionysos
and Ariadne, archaistic style ; two copies. All noses new. Bought
for 18 crowns (more than 4 guineas) from Hamilton (letter of July
12, 13, 1776). H. 0-42 and 0-43. [*]

STAIRCASE.

9. Statue of Artemis as a huntress. Clarac, iv. 565,
1 21 7 A. The goddess hastens forward with r. leg advanced, short
drapery, a small cloak thrown like a shawl over 1. shoulder and
round the w'aist. The 1. arm was extended straight out in horizontal
direction, the r. arm probably always somewhat raised. The torso
however, exclusive of r. shoulder, and the legs to below the knees,
are all that is antique. The antique mask of the face (nose new)
does not belong to the statue. But that there is no trace of a quiver
one would be reminded of the motive of the Artemis of Versailles.
Careless decorative sculpture, yet not without effect. H. 2-05.
[*Cw]

10. Statue of Hygieia. Clarac, iv. 552, 1172 B. A slender
figure, resting on r. leg, and draped with a chiton and a cloak, which
covers thighs, body, 1. breast and 1. arm. Both arms are lowered, r.
forearm and 1. hand missing. The head, somewhat bent, with a head-
cloth {K€Kpv<t>a\os) is antique and belongs to the statue ; nose injured.
The large snake is preserved as far as before the breast, and more-
over on r. thigh are traces of hand and snake. The statue is a
replica of that at Deepdene (no. 7), but much inferior in dimen-
sions, proportions and execution ; there is a similar torso in the
British Museum (Clarac, iv. 552 B, 1186 F). H. 0-96. [*]

II (placed under no. 10). Ara. In front: a Fortuna seated,
seen full face, veiled, with a large cornucopiae in 1. arm, a cup in r.,
an ewer in 1. hand. H. 0-63. L. 0-30. D. 0-27. [*]

12. Statue of Hermaphrodites. Clarac, iv. 750, 1S29 B,
" Nymphe." The Hermaphrodite reclines in repose on the rocky

440 LONDON, LANSDOWNE HOUSE 1 3 — I 5.

ground with his drapery under him, head supported on 1. hand and
1. leg drawn up under him. The r. hand rests on r. thigh. A
cloak covers the greatest part of the r. leg and a piece of the 1.
shin. New : 1. leg below knee, and knee-cap, r. leg from half
down the thigh and almost the whole drapery, r. arm from below
the elbow, 1. forearm. There are patches on the breast. The
head is antique (nose and upper Hp restored), but does not belong
to the body. Body, inclining to stoutness, fine ; hips broad, effemi-
nate. There are clear indications that the whole figure should recline
more on its 1. side. Workmanship not bad. Fine Greek marble,
apparently Parian. Bought from Hamilton for ^40 (letter of May

30. 1775)- L- i'49- [*]

13. Statue of a sleeping Nymph. Clarac, iv. 750, 1829
A=i829 D (inaccurate). The pose is in general similar to that of
no. 12, only the Nymph supports herself on the 1. forearm, which rests
on an urn, and the r. hand is laid slantwise across breast on to 1.
shoulder. New : ■ the whole rocky ground, the whole of the legs
with the drapery covering them, part of the rest of the drapery and
a piece of the urn. On each arm is an armlet which gets broader in
the middle. A fillet in the hair. Ordinary decorative work. Thasian
marble. Can this be the " statue of the Nymph Egeria turned into
a fountain" which Lord Shelburne bought of Hamilton, 177 1, for
^65? (Memorandum no. H.) L. 1-07. [*]

14. Bust of Zeus. Overbeck, At/as zur Kunstmyth., PI. 2,
13, cf Ku:istmyt/i., 11. p. 79. The forehead is very low, towards the
temples the brows project considerably over the deep sunken
eyes. The expression is mild, and indeed somewhat unintellectual.
Mouth slightly opened. Head a little inclined to its own 1. Hair
rising up over forehead hangs down dankly; the curly beard too hangs
considerably. A fillet traverses the hair. It may be in fact a ques-
tion as to whether Poseidon is not intended. Certainly antique and
apparently original is the bust with rich folds of the cloak on the
1. shoulder. New : nose, under lip, a piece of the neck and hair, a
few patches on the bust. Top and back of head have been broken
off, but are apparently antique. Good workmanship, but unfor-
tunately much rubbed away. The marble seems to be Greek.
Bought for 45 crowns (about £11) from Hamilton (Memorandum
of July 12, 1776). H. 0-70. L. of face o'2o. [*BCm]V^

15 (placed under 14). Cinerary urn of Nicostratus. Cava-
ceppi. Race. in. PI. 12. Front. In the middle a niche rounded at
the top, its edge surrounded by eight small holes which must have

LONDON, LANSDOWNE IIOUSK l6 — 20. 44 I

served to fasten on a metal border. In the niche the nude bust of a
youth with curly hair. Pupils expressed. On either side of the niche
a figure in relief: on the 1. a nude youth in lively movement, with
upper part of body thrown back and upturned gaze ; with the out-
stretched 1. arm he has tossed up a shield of a peculiar shape (see
below), and seems to wish to catch it again. In his lowered r. hand
he holds a short sword. On the r. a second youth stands in repose,
draped in the short tunic ; on his lowered 1. arm he carries a shield
similar to that of his companion ; in the r. hand he holds up his
sword (?). Below, the inscription : Dih Maiiibus Nicostrat\i'\ \

Neronis Claiidl Cat:[sa]ns A!/gus\ti] \ . . vcn (or viii) Right

SIDE. A double flute and a short sword in tlie sheath. Left side.
A shield as above, of the following .shape

with a boss; and a syrinx. Lid Front. Two reclining figures
turned away from each other. On the 1. a bearded Pan with a
pedum on his 1. arm, over the goatish legs hang two flutes crossed,
one straight, the other curved. On the r. a draped girl (legs, hand
with wreath restored). Both sides are modern. H. 0-34, with lid
0-44. L. 0-46. D. 0-45. [-'O/]

16 (placed under 15). Sepulchral ara of T. Flavius
Sedatus. It is adorned with rams' heads which support garlands ;
below, at the corners griflSns, behind, eagles. In the field made
by the garland in front an eagle and the inscription : T. Flavio
Aug{usti) l(iberio) \ Sedato \ Antoniano \ P. Cornelius \ laso patri \
pilssimo ; on each side a bird and above them on the r. an ewer,
on the 1. a cup. H. 0-94. L. 0-64. D. o'si. [*C]

17. Sepulchral ara of Vicanus. At the corners, spiral-
shaped twisted columns on each of which stands a Cupid holding a
garland. Over the latter the apparently modern inscription : D. M. \

Vicatio incop\arabili ac dulci filio Nedimus \ d Sintyche piarentes)
/(ecerunt). \ v{ixit) a{nnum) I vi{etiscs) V d{ies) XVIII. Below this
a tripod between two griffins. Above on the lid two birds and an
overturned basket of flowers. On the sides, 1. a cup, r. an ewer, above,
birds. H. 0-55. L. 0-36. D. 0-33. [*C]

18, 19. Two modem round sepulchral vases, the one with
the inscription : D. M. \ Dis Manibus \ L. Macri \ Fuelpisti (for
Euelpisti). [-]

20. Marble throne consecrated to Apollo. Mon. dcll

442 LONDON, LAXSDOWNE HOUSE 21—25.

Inst., V. 28; cf. Aimali, 1851, p. 102 (E. Braun). The seat is
cushioned and covered over with a drapery, and is supported on four
very richly ornamented legs, the tops of which terminate in eagles'
heads. On the seat and the high back, which is framed by pilasters,
and above by a pretty ornament, are represented in very high relief a
bow (strangely, as it seems, cracked, the one half leaning towards the
back, the other half lying on the seat) entwined by a large snake, and
a quiver of which the broad strap is richly decorated with a palmette
pattern. Elegant work; much broken, but antique, as it seems, in
essentials; the dark position makes an accurate investigation difficult.
H. 1-54. L. 0-63. D. 0-47. [*0;/]

21. Roman sepulchral monument. Five busts (belonging
to three generations) close together; an elderly man, a young
woman, a young man (nude), a very old woman and a very old
man. The grandam (no. 4) exhibits a head-dress not uncommon in
the Augustan period, a small roll projecting over the forehead
(cf Mongez, Iconogr. Rom., PI. 19), though broken. Noses
wholly or partially restored, missing on no. 5. H. 074. L. i-Si.

22. Roman sepulchral monument. Three busts over
life size, of the period of the Claudian Emperors ; father, mother
and son. The woman's hair is arranged in the style of the elder
Agrippina. Noses restored. H. o'66. L. 1-27. [*^]

23. Roman sepulchral monument. Busts of a man and
his wife in high relief, well executed, apparently somewhat retouched ;
noses new. Between them the inscription : Hanc talevi \ coniiigem,
quam \ praefestinas \ Fatus pcrcmit, \ quavi Fors tribuit, \ Fortuna
ademit \ casus dominatur. \ quapropter hos\pes, spera, paii\ca adpete,
vive I quietus, teque ho\minem cocnoscas : \ omnia despicies. \ £)cum
Manium | sacrum, parce, \ Ita te deis superis \ atque inferis \ parcant. \
vale. H. 0-40. L. o'5o. Y or praefestinas Fatus (cf Petronius, ch.
42, 71, and frequently on inscriptions) also an inscription in Castle
Howard may be compared : L. Pituani Salvi. quoniam te Fatus
praecuctirrit, ossa tua bene adquiescant. [*]

24. Sepulchral ara of M. Carienius Venustus. Above,
the bust of a boy in a semicircular field. In the field the inscription:
Dis AIan{ibus) \ M. Carienio M. f. \ Venusto \ q{ui) v{txit) an{nos)
VIII m{enses) X \ M. Carienius Felix \ et Carienia Venusta \ in-

felicissimi parentcs fec{erunt). On the sides, 1. the ewer, r. the cup.
H. 0-87. L. 0-64. D. 0-29. [*C]

25 (on the staircase). Bacchic frieze. Cavaceppi, Face, 11.

LONDON, LANSDOWNE HOUSE 26. 443

PI. 58. The upper border with ovolo pattern proves that this is
not the slab of a sarcophagus, though the subject suggests it ;
but the distance also between the several figures is contrary to the
style of sarcophagus reliefs. The procession moves from 1. to r. ;
whether it is quite complete cannot be said as the 1. end is restored.
Here stands a Satyr with a skin over the 1. shoulder, and holds out a
drinking-horn (rhyto?i) in his r. hand to receive the precious draught
from the bowl of the Uionysos. The god crowned with ivy (new :
neck and 1. shoulder) lies in easy attitude in a car of strange shape,
rounded in the form of a tray, and only two-wheeled; the cloak
covers only the legs. He holds a wreath in the 1. hand, the out-
stretched r. arm, with the bowl {kantharos) carelessly held, rests on
the shoulder of a female lying in the car by the god; she wears a
girdled chiton, which has slipped from the r. shoulder. Two Centaurs
draw the car, one bearded, playing on the cithara (new : head, pro-
bably also the upper part of the body, and the cithara), and the other
younger, blowing the double flute (new: head, r. arm, r. leg); on
their backs a Cupid stands as driver, but of this figure only the torso
with the thighs and the fore part of the 1. foot are antique. Below
the car lies a syrinx, a tympanon and a pedum. Before the Centaurs
dances Pan, with a skin over his 1. shoulder, with his r. foot treading
on a krupezion. He stretches the r. hand forward (holding nothing),
the 1. up ; his head he turns back, because a youthful .Satyr
dancing before him, with the nebris over his breast, flourishing the
pedum in his 1. hand, is hitting him in the face with the r. hand.
Beyond, a Maenad, in chiton, dancing and striking the tympanon
(new : head and lower part of r. arm). Next comes a dancing Satyr
(not a Maenad) who is blowing the double flute, seen from back ;
then a Maenad, nearly nude, in full face, striking the tympanon.
Lastly, a bearded Pan with man's legs but goat's horns, a cloak
on his back. Though the whole has a good effect, still the work is
rough, and might here and there arouse suspicion of modern
origin, though scarcely with justice. Pretty seriously restored and
much blackened, having probably indeed been coated with black
paint. H. 0-50. L. 2-15. {Afm^

26 (over a door on the first floor). Greek sepulchral relief.
On the r. a throne with high square back and very artistically turned
legs ; the arms supported in front by an eagle. On it sits a stately
woman in sleeveless chiton ; a cloak covers her legs and falls down
with a corner over her 1. arm with which the woman supports herself
on the arm of the throne. She holds out the r. arm, adorned on the

444- LONDON, LANSDOWNE HOUSE 27—30.

upper part and the wrist with armlets (tpikia), towards a flat casket
with open lid, which a little serving-maid hands her. Two holes on
the casket prove that metal ornament of some kind was introduced
here, perhaps ribbons, or at least some article of the toilet which the
woman is about to take from the casket. The relief is excellent in
its kind, rounded and raised very high (more than o-i6), and with
the principal figure about half the size of life. It seems to be a
good Roman imitation of an older Greek original ; the place where
it is let into the wall is so situated as to make close examination
difficult. H. 0-93. L. I 04. [*J/]

ANTE-ROOM (on the right next the Entrance Hall).

27. Small relief, in a frame. Four hippocampi, led to the r.
by a Triton ; the Poseidon on the 1. is restored. High relief.
H. o'2i. L. of genuine part o'37. [*]

niNING ROOM.

28. Statue of " Tiberius." Clarac, v. 925, 2356 C. A head
of Tiberius in Pentelic marble (new : nose and chin) is connected
by means of a modern neck with a heroic statue of Thasian marble.
The powerful, almost coarse, frame steps slightly forward with the 1.
leg. A cloak lies on the 1. shoulder and winds round the 1. arm
which is set akimbo. New : lowered r. arm, some fingers of 1. hand,
lower parts of legs, the support by the 1. leg and a great part of the
drapery. The 1. thigh has been broken at the top but is joined on
again. Coarse work. H. i'93. [*]

29. Statue of a Roman in the toga. Clarac, v. 89-1,
2284. This statue is broken across the middle, but is nevertheless
very well preserved except the modern neck, on which is set a
coarse portrait-head (a replica of the " Sulla " in the Vatican, Braccio
Nuovo, no. 60 ; new: nose, pupils expressed), and except the greater
part of the r. arm. L. hand with roll worked over. H. 2-05. \^'E\

30. Statue of " Traian." Clarac, v. 942, 2415 A. The
head of Trajan (new : nose; lips, chin) does not belong to the statue,
which in its main attitude corresponds to no. 28, only that the 1.
arm is not akimbo. New : r. arm with sword, 1. forearm and con-
siderable portions of the cloak, lower part of r. leg, 1. foot, pedestal
and a large portion of the support. Ordinary work. H. 1-93. \*E\

LONDON, LANSUOWNK HOUSE 3 I — 34. 445

31. Statue of Dionysos in repose. Clarac, iv. 695, 1568.
The torso is antique in essentials, with the nebris girt from the 1.
shoulder slantwise across the breast, and so are the extremities so far
as to determine the movement. New : head, r. arm lying thereon
and the 1. arm leaning on the stem of a tree, the stem itself, the
lower part of 1. leg and three quarters of r. leg on which the body
rests. The merit of the sculpture is not in proportion to the size of
the work. Greek marble. H. 2-30. [*J

32. Statue of Apollo. Clarac, iii. 476 A, 906 C. The
figure quite nude, botli arms lowered, steps forward just a little
on the 1. foot. The head, never broken off, is a head of Apollo,
with wreath of laurel which lies very gracefully on the hair; the
fillet falls down on the shoulders (new : nose, lips, r. cheek). The
r. arm with arrow, all fingers of 1. hand with staff, r. leg entirely,
I. leg from half way down thigh, the greatest part of the support are
restored. Common-place work. Coarse-grained Greek marble. H.
179. [*B]

33- Statue of Tyche. Clarac, in. 454 B, 839 B, "Sabine
ou Plotine en Fortune." It is a noble figure in double chiton ; such
as is usual in the older Attic sculpture. It rests on r. leg. Note-
worthy is the strong delineation of the folds of the upper portion that
flow slantwise down towards the r. hip. R. hand with steering-
paddle is restored, and there is no indication of it in the figure itself,
but the cornucopiae in the 1. hand is antique except the lower point
and the hand; hence in fact an early (Attic?) type of Tychfe seems
to lie before us, perhaps belonging to the first half of the fourth
century b. c, unless we are to suppose that a favourite early motive
in drapery carving has here been at a later date transferred to
Tychb. The unknown portrait head with huge wig (belonging to the
beginning of the second century, but neither Sabina nor Plotina)
may be its own, though the neck is a modern insertion; still it is
doubtful. A few toes and various folds are restored. Drapery
rather drily, but not badly treated. Pentelic marble. H. 176. [*£]

34. Portrait Statue. Clarac, v. 971, 25 ro A. A youth,
furnished with the chlamys, in which the body is rather framed than
covered, steps forward with the r. leg by which is a large quiver
serving as a support. New : only the greater part of I. arm. The
lowered r. arm, though broken in different places, is nevertheless
probably entirely antique. The cheerful head with agreeable
features (pupils expressed) represents neither M. Aurelius nor Geta ;
it is unknown. Ordinary work. Thasian marble. H. 1-57. [*B]

446 LONDON, LANSDOWNE HOUSE 35 — 38.

35. Statue of Hermes. Clarac, v. 946, 2436 A, "Antinous"
(wrongly without doubt). The god rests on the 1. leg, r. arm
lowered, with the chlamys over 1. arm. The statue is in perfect pre-
servation except the 1. hand. Two large marble blocks or putitelli (be-
tween the calves and between the r. hip and the r. hand) as well as
two smaller ones (between thumb and forefinger of the r. hand, and
between member and scrotum) have contributed to its preservation.
This youthful head in the style of Polykleitos, to which the "Idolino"
in Florence is allied (Clarac, iv. 680, 1591), is small in proportion
to the sHm body of the youthful figure. The treatment of the
chlamys vividly recalls that of the bronze Hermes in the British
Museum {Spec, 11. 33. Clarac, iv. 666, 1515. Miiller-Wieseler, 11.
34, 314). Altogether the entire statue conveys the impression of
being a conglomeration of divers reminiscences. Pentelic marble.
Very good execution. H. 175. [*]

36. Statue of an Athlete. Clarac, v. 856, 2180. Cavaceppi,
Race, I. PI. 21. The figure rests on r. leg with tolerably strong
inclination of the body, the 1. leg being somewhat drawn back ; by r.
leg the stem of a palm tree; both arms have always been outstretched.
One might suggest the motive of an aTro^Do'/xti'os, destringens se, which
is so popular, for both arms with the caestus are new, as also the foot
and the pedestal. The head a little recalls the head of an athlete in
Ince, no. 152, but it belongs to a younger development of art.
New : the top of the head, tip of nose, lips. Very good work.
Marble seems to be Greek. H. 173. [*£]

37. Female head, of colossal scale. Spec, i. PL 27. The
face is seriously restored ; new : nose, lips, chin. Hair parted and
twisted behind into a kind of roll; a thick twisted ribbon, such
as often occurs in the case of Asklepios, goes round the head. It is
a Roman copy of an older original, the severe proportions of
which and the sharp treatment of the edge of the brow and of the
eyelids are still slightly indicated, though the effect of the copy is
not happy. The bust, trimmed to a terminal shape, is new. L.
of face o'2i. Bought of Gavin Hamilton for ^^43 as "Erma of
Berenice" (letters of July 16, Dec. 26, 1772). [*j5]

38. Bust of Antinous ; in Egyptian costume, with the calan-
tica, which suits the character of the head admirably. The glance
of the eyes goes straight forward rigidly, and is less gloomy than
usual. Eyebrows expressed. New : the greater part of the calan-
tica from above the band over the forehead, the tip of the nose,
neck and breast. On the top of the head a dowel-hole (modern ?).

I.ONnON, LAN'SDOWXE HOUSF. 39— 4I. 447

H. 0"59. L. efface o'lg. Found in Hadrian's Villa, 1769, bouglu
from Hamilton for ^^75 (letter of Dec. 15, 1771). [*]

BREAKFAST ROOM.

39. Statue of Paris. Clarac, iii. 396 E, 664 L, "Atys."
The beautiful youth rests the r. hand on a low stem of a tree, so that
the shoulder is somewhat forced up. The r. leg is crossed in front
of the 1. on which the body is supported. The 1. hand lies on the
back. The curly head, with Phr)'gian cap, is gracefully bent ; the
curls treated similarly to those of the Vatican Eros {Mus. Pio-Clem., i.
PI. 12). The head is certainly re-set, but, according to the view of
Clarac, Bernoulli and myself, is without doubt original, while Pallaway
remarks (p. 340) that it is " not its own." Unhappily the statue is
much mutilated. New : nose, lips, chin, peak and most of the cap,
considerable pieces on the neck, and r. forearm ; 1. arm patched, but
apparently quite antique ; 1. thigh patched ; the lower parts of both
legs, broken, r. above, 1. below knee, are doubtful ; the 1. foot, toes
of r. and part of pedestal certainly antique. The name " Paris " is
not indisputably correct; the addition of an eagle, for example, would
at once make it quite as suitable for a Ganymedes (cf Mus. Pio-
Clem., II. PI. 35). The beauty of the statue, which is with justice
highly praised, lies more in the fine movement and generally in the
conception than in the execution, which is not excellent. The
marble seems to be Greek. H. 1-56. Found by Hamilton, 1769,
in Hadrian's Villa (Dallaway, p. 368), then for a long time in pro-
cess of restoration (Hamilton's letter of Jan. 18, 1772), and sold to
Lord Shelburne for ;£^2oo (letter of Dec. 26, 1772). [■'■'5C]

40 (inserted into the pedestal of no. 39). Fragment of an
ornament of branches, very delicate. [*]

41. Statue of Apollo Sauroktonos. Clarac, iii. 476 B,
905 D. Antique : torso, r. thigh to above the knee, half 1. thigh,
half upper part of r. and whole upper part of 1. arm (attached to the
stem of a tree). Work soft and very good, though not excellent.
On the modern neck a pretty Apollo's head (antique) is set, with a
top-knot above the forehead and a fillet (new : half the nose) ; it
does not belong to the statue and also has not the right pose, as it
does not look at the tree, but down before him. The restorer, to be
sure, had not recognised the original motive of the torso, and had
changed it into a Narkissos. After Hamilton had long busied him-
self to no purpose to find as pendant to the Paris (no. 39) a Venus

448 LONDON, LANSDOWXE HOUSE 42 — 5 I.

of corresponding dimensions, as Lord Shelburne wished, he sent him
this "sweet pretty statue representing a Narcissus, of the exact size
with the Paris, and I imagine will suit it for a companion, without
waiting for a Venus, which are very rare to be found of that small
size. The price of it is ;£^i5o including all charges at Rome and
Leghorn" (letter of Aug. 9, 1775). Italian marble. H. 1-46. [*£€]
42 (inserted into the pedestal of no. 41). Ornament of
branches, pendant to no. 40.

The busts almost all stand very high on the bookcases.

44. Head of beardless Roman with short hair. [B]

45. Small head of " Sappho," corresponding to that in the
Louvre (Clarac, vi. 11 14, 3520 A), in the Vatican {Af»s. Pio-Clem.,
VI. PI. 4, 2), in Wilton, no. 128, and elsewhere. A cloth is wound
several times round the head ; curls hang down on the sides.
New : tip of nose and bust. [*i?]

46. Female head of Antonia probably. Bernoulli observes,
"This portrait corresponds more to the pleasing type of the Roman
bronze coins and to the noble picture given by historical tradition
than any single bust of the Italian Museums. Cf. Wilton, no. 25."

47. Head of a youthful Roman, beardless, with full, curly
hair. The paludamentum on the 1. shoulder. Below life size. \B\

48. Colossal head of a Roman, beardless, somewhat of the
character of the so-called jMarcellus in the Capitol {Miis. Captol., 11.

PI. 3). \B\

49. Fragment of a female statue, upper part, in the treat-
ment of the Pudicitia, broken below the breast. The r. hand covered
by the drapery, is raised towards the neck. The virginal expression
is extraordinarily noble and thoughtful, the hair is smooth and
encircled by a fillet. This fragment, found in Hadrian's Villa 1769,
is one of Lord Shelburne's earliest acquisitions ; he bought it of
Hamilton for ^50 (Memorandum, no. 11). [*^]

50. Female portrait-bust of the period of the Flavian
emperors, with a raised structure of curls pointed in the style of a
tragic onkos. The face is that of a woman past her prime of youth,
and is pretty plump and of proud expression. The brows are
lowered towards the nose. Life size. \* B\

51. Bust of Antoninus Pius (?). [/?]

LONDON, LANSDOWNE HOUSE 52 — 57. 449

52. Ideal bust of a female, with fillet and top-knot. [B]

53. Female head. S/>e<:., i. PI. 7. Bernoulli writes, "It has
smooth, wiry hair, which is twisted round a fillet along the some-
what flat forehead, and behind forms a roll which stands out some
way, and is combed upwards. This peculiar treatment of the hair,
which scarcely ever recurs in any other head, makes it probable that
it is a portrait ; the simple, sharp, almost dry sculpture, renouncing
all picturesque effect, indicates a rather early period, and the wire-like
character of the hair suggests a bronze original. According to Payne
Knight's letteqjress to the Specimens, the hair is indeed for the most
part modern ; the restoration however seems to be established by
replicas at Richmond (no. 53), in the Vatican (Chiaramonti, no. 363),
in the British Museum (Gracco-Roman Basement Room). The
head, according to Payne Knight in excellent preservation, rests
on a bust with a gathered chiton, hemmed round on the neck, a
piece of cloak running obliquely across the 1. shoulder." Found by
Hamilton in the neighbourhood of Rome. [*.5]

54. Head of a beardless Roman, turned somewhat 1., re-
calling Modius Asiaticus (Wilton, no. 78), but not identical therewith.
Life size. \B\

55. Portrait bust of an elderly Roman lady with wavy hair,
gathered behind into a tolerably peaked knot, little ornamental curls
in front of the ears ; the hair is treated very much like that of Lucilla
in Jilongez, Iconogr. Rom., PI. 42. Life size. [*^]

56. Porphyry bust of Vitellius. Face uninjured. It
corresponds to the coins better than the ordinary busts, therefore
Bernoulli holds an antique origin to be at least possible ; I doubt this,
for example on account of the thoroughly unantique rendering of the
pupils by a roundish hollow. On the back of the head a bald patch.
Corslet and cloak of bronze. Over life size. [*/>']

SCULPTURE GALLERY (Ball RoOm).

The numbering begins with the easterly apse and then goes
round the wall.

57. Statue of a boy ; travesty of Herakles in repose.
Clarac, iv. 650 D, 1478 A, " Amour." Exactly in the attitude of the
Farnese statue of Glykon ; the hon's skin with the claws tied in front
of the neck covers the head and the 1. arm ; the club is wrongly
restored. Whether Eros is meant is not quite certain ; no wings.
The whole figure is pretty, the expression of the face roguish, as
M. C. 29

450 LONDON, LANSDOWNE HOUSE 58, 59.

becomes the motive. New : the whole stem, 1. hand with club, parts
of skin, lower parts of both legs. H. o'qS. Bought by Henry, 3rd
Marquis of Lansdowne. [*m 11']

58 (under no. 57). Round altar with Bacchic relief. On
the r. side of an altar adorned with a garland (without figure-sculpture),
on which burns a small pile of wood, stands Dionysos in a long
doubled chiton (the under part, of finer material, is only visible at the
feet) and with a nebris which is tied round the waist with a girdle. On
his feet he wears pointed shoes. The stiff pose and archaic drapery
correspond to the pointed beard and to the arrangement of the hair
in long stiff curls. In his lowered 1. hand he carries a vessel with
handles, shaped like half an egg, and in the r. hand an ewer with
handles from which he pours a libation on the altar. A Maenad
follows with her sword over her head, and the hind half of a kid in
her 1. hand (exactly like Broadlands, no. 5, fig. 2. Zoega, Bassir.,
PI. 83, fig. 2, PI. 84, fig. 2. MuUer-Wieseler, ir. 48, 602, fig. 6).
Opposite Dionysos, next the altar, stands a second Maenad in chiton
and fluttering cloak, with a wreath in the 1. hand and a corner of her
drapery in the r., her head thrown back (like Zoega, PI. 84, fig. 5).
A third companion follows her, likewise with head thrown back on
neck, with an upright thyrsos in the r. hand and a half kid in the 1.
(like Broadlands, no. 5, fig. 3. Zoega, PL 83, fig. 3, PI. 84, fig. 6.
Clarac, 11. 135, 135). The combination of full freedom of movement,
in the figures of these enthusiastic women, wth archaic stiffness in
that of the god, is characteristic of the eclecticism of the so-called
New Attic School in Rome, to which corresponds also the angular
style of the execution. Below, an ovolo and other mouldings.
Pentelic marble. H. 0-55. Diameter 0*38. [*CmW]

59 (under no. 58). Attic relief of Athene Nike. Athene
stands facing r., draped in a rich doubled chiton, which is opened on
the r. leg and forms two rows of beautiful zigzag folds ; the 1. knee is
a little bent. A simple cloak falls down behind the back (as on the
Eirenfe in Munich) ; the goddess wears no aegis. The hair falls down
far on to the nape of the neck. The r. arm is akimbo. The goddess
gazes at the lofty (Corinthian) helmet with magnificent plume which
she holds on her 1. hand (cf Harpocration s. v. 'HU-q 'Adipa). A
large round shield stands by her 1. leg, close to it a pillar on which
sits the owl. On extreme r. a tree, manifestly the olive, entwined by
a snake (otKoupos o<^is). This excellent piece of the noblest style,
apparently belonging to the first half of the fourth century B.C., is
executed in low relief, only the r. forearm in high relief Pentelic

LONDON, I.ANSDOWNli HOUSE 6o, Cl. 451

marble. H. 072. L. 0-46. As Miiller does not mention the relief,
it is probably one of the purchases of the third Marquis. The
Archaeological Institute in Rome possesses a drawing of it. [*CJV]

60. Bust of Hadrian. New: nose, neck and breast.
H. 032. L. offaceo-2o. [*]

61. Statue of Herakles. S/cr., i. PI. 40. Clarac, v. 788,
1973- This beautiful statue, always rightly considered one of the
choicest ornaments of the collection, exhibits the hero as of youth-
ful age. He rests on r. leg, holding club over 1. shoulder; the
lowered r. hand clasps the lion's skin, which hangs down to the
ground and is adroitly used as a support for the r. leg. In spite of
the powerful square-built frame, which befits a Herakles, the statue
is unmistakeably in the spirit of Lysippos. The head, through
the freely-treated, short, curly hair of which the fillet of a victor
is drawn, displays sharp forms, especially in eyes and brows, and
is of characteristic smallness. The shortness of the neck is still
more remarkable in contrast with the mighty shoulders. The legs are
long in proportion to the thick-set torso, the feet somewhat flat, as in
all statues of the school of Lysippos (cf. Ince, no. 43). The style of
this master is especially evinced in the noble unconstrained freedom
of the whole movement, the freshness and elasticity of the slightly
t^visted pose. The argiitiae opentm custoditae in 7/iimmis qiioque
rebus (Plin., 34, 65) show themselves, for example, in the naturalistic
rendering of the soft folds of skin between thumb and finger of the
r. hand. Without doubt the statue offers one of the finest specimens,
if not absolutely the best, of a Herakles according to the conception
of Lysippos. The workmanship is first-rate, the marble Pentelic
(not Carrara), the preserv-ation remarkable. The head has never
been broken off. New : only the tip of the nose, parts of 1. forearm
and club, a piece inserted on the r. forearm and the r. thumb, the 1.
shin between knee and ankle. H. 1-95. Found in 1790 in Hadrian's
Villa, in the grounds belonging to the Marefoschi family, originally
owned by the Conte Fede; purchased by Jenkins (Dallaway, p. 341).
Payne Knight's account, doubtless based on Townley's statements,
is as follows : "Found with the Discobolus [Townley, found 1791 :
Spec, I. PI. 29. Mus. Marbles, XI. PI. 44. Clarac, v. 860, 2194 B]
in the neighbourhood of Rome : and the late Mr Townley, to whom
the choice of them was immediately offered was induced, by the
drawing and description sent to him, to prefer the latter; though,
when he saw them, he instantly changed his opinion ; this Hercules
being, with the exception of the Pan or Faun at Holkham [no. 19],

29—2

452 LONDON, LANSDOWNE HOUSE 62.

incomparably the finest male figure that has ever come into this
country." Zoega (in Welcker's Alie Denkmaeler^ i. p. 422) affirms
that both statues came from Hadrian's Villa, and were only bought,
not exhumed, by Jenkins. Another more dramatic but less trust-
worthy version was given by Townley's biographer, Dallaway (in J.
Nichols' Illustrations, (S^c, in., p. 727): "Upon the receipt of a letter
from Jenkins, at Townley, promising him the first choice of some
discovered statues, Mr Townley instantly set off for Italy, without
companion or baggage, and, taking the common post conveyance,
arrived incognito at Rome, on the precise day when a very rich cava
was to be explored. He stood near, as an uninterested spectator,
till he perceived the discovery of an exquisite statue, little injured,
and which decided his choice. Observing that his agent was urgent
in concealing it, he withdrew to wait the event. Upon his calling at
Mr Jenkins' house in the Corso, who was not a little surprised by his
sudden appearance, the statue in question was studiously concealed,
while the other pieces were shared between them \vith apparent
liberality. Mr Townley remonstrated, and was dismissed with an
assurance that, after due restoration, it should follow him to England.
In about a year after, Mr Townley had the mortification to learn that
the identical young Hercules had been sold to Lord Lansdowne at an
extreme, yet scarcely an equivalent price." Lord Lansdowne paid
_;^6oo, the same as for no. 65, and ;£^ioo less than Townley paid for
the much inferior Diskobolos, cf Payne Knight in the Report from
the Elgin Committee, p. 95 ; Knight himself set the value of the
Herakles at ;^iooo {ib. p. 99). [*;«JF]

62. Bust of a victorious youth ; by Waagen wrongly
named Antinous, of whom the head reminds one less than the broad
breast. The portrait character is modified, and fused ^vith the
traits of Hermes, only the forms are softer and broader, the lips
fuller. The mouth is slightly opened. The angle of the brow is
sharply accentuated ; above it the lower portion of the forehead
projects slightly. Hair short and curly, minutely divided but not
detached very freely from the head. Through it is twined the
remains of a wreath of laurel, the tiny leaves of which are chiselled
out delicately and with animation. Below it a broad groove for the
reception of a bronze fillet, not a bronze wreath (as has been some-
times repeated on Dallaway' s authority). The type is not that usual
in the school of Lysippos, but can hardly be earlier. New : tip of
nose and part of 1. brow; hair over forehead is re-worked; the bust
is broken but is antique in essentials. H. o-6i. L. of face o-i8.

LONDON, LANSDOWNE HOUSE 63—64. 453

Found by Hamilton, 1769, in Hadrian's Villa; bought, 1771, by
Lord Lansdowne for jQ-js^ (Memorandum, no. 11.). [*2> /T]

63. Marcus Aurelius. Clarac, v. 950, 2445 A. The emperor,
almost nude, rests on the r. leg, 1. being somewhat drawn back ; a
chlamys covers breast, shoulders, and back. In his lowered r. arm
he holds a sword, the raised 1. hand grasps the sceptre at the upper
end. By the r. leg is a leathern corslet hung over a support. The
idea of the statue is founded c^ a type of the god Mars (cf Dilthey,
Rheinldnd. yahrbikher, liii., pp. 27 ff.). New: greater part of 1.
foot and of the sceptre, of which however both ends are antique ;
the 1. arm is broken and \A'orked over, but is antique; the r. arm
between shoulder and wrist seems new, and so too a great part
of the sword; the hand is old but patched. The youthful head of
M. Aurelius, with slight down on upper lip and chin (new : nose and
half the chin), is re-set and, according to Hamilton, who found the
statue in 17 71 at Tor Colombaro, properly belongs to it: "The head
is its own, though wanting part of the neck, as I found it near
where I found the statue, as likewise both the hands, though one of
them is much corroded by the nitre of the earth" (letter of March 4,
1773). According, however, to Hamilton's communications to
Townley there was found close by our statue a replica of poor work-
manship, broken into many pieces, and the head was said to belong
to one of the two statues (Dallaway, p. 372). In Waagen's opinion
the head is fine, but has been placed on an inferior statue. I have
found no reason for doubting that the two belong together ; the
whole statue is more impressive by its size than by its artistic value.
Hamilton sent it to Lord Shelburne, although aware that he was
not fond of portraits in general. The price came to ^£'300. It does
credit to the taste of the Marquis, that he w^as somewhat dissatisfied
with the statue (letters of March 4, May 7, July i, 1773, March
13, 1774). Really it does not deserve the place of honour, in the
central niche of one of the two apses, which has been given to it on
account of its unusual size. H. 2 •20. [* /F]

64. Bust of Antinous, of Bacchic character. The head is
somewhat inclined over to the 1., the expression more thoughtful than
sullen. Through the luxuriant hair runs a wreath of ivy, very
much undercut, so that the several leaves are almost detached. The
eyebrows are expressed in the carving. New : nose, lips, part of
chin, many pieces of ivy-leaves, lastly the bust. Good, powerful
sculpture. H. 044. L. of face 0-22. The head was found by
Hamilton, 1769, in Hadrian's Villa. As the Papal licence for expor-

454 LONDON, LANSDOWNE HOUSE 65.

tation was not granted, Hamilton had to smuggle the head away,
which was managed by means of an "additional present to the
under antiquarian." As to the price cf. on no. 85 (letters of July
16, Aug. 6, 1772). [*£]

65. Statue of Hermes. Sj'o:., 11. PI. 37. A replica of
the Belvedere Hermes (formerly named Antinous or Meleagros),
in which, since the discovery of the Hermes in the Heraeon at
Olympia, we recognise the characters of the style of Praxiteles (cf.
Treu, Hermes mit dem Dionysoskttabeji, Berlin, 1878, pp. 8 f ). The
head reminds us especially of the Hermes of Andros in Athens
(Kekule', T/ieseiott, no. 368) ; it exhibits the same delicate arching of
the nose, the same shape of eyes and brows, the same prominence
of the forehead over the nose, which disappears towards either side,
so that the forehead quite recedes at an angle oa the temples, lastly
a similar expression of mild but earnest thought. G. Hamilton
found our statue in Tor Colombaro, 1771, and at once reported
to Lord Shelburne that it was of the same size and equal preserva-
tion with the Vatican statue, with head untouched. "There is as yet
wanting one hand, a knee with part of the thigh, and a small part of
one arm.... As yet I cannot fix a prize upon it, as I am still in hopes
of having it quite complete. As it is, I rank it with the one at the
Belvedere" (letter of Jan. i, 1772). The hope of finding further frag-
ments seems not to have been fulfilled. The head is in fact unbroken,
but the tip of the nose is restored, so too are part of 1. arm and some
fingers of 1. hand, r. hand (r. arm broken off but antique), r. leg from
half way down the thigh and the stem, half lower part of 1. leg,
pedestal, lastly borders and corners of chlamys. The remainder,
of beautiful Parian marble of yellowish colour, is in excellent preser-
vation, the surface of the whole body is executed with very delicate
feeling, the treatment throughout soft and animated ; the upper part
seems to bear on the legs less heavily than in the Vatican copy; with
all the breadth and power the contours are yet softer, the muscles of
the breast not too massive. Not a trace has been preserved of the
kerykeion in the 1. hand, as in the Farnese copy in the British
Museum (Graeco-Roman Sculpt., no. 171. Braun, Kimstmyihol., PI.
91). This really exquisite copy is said to have been praised by
Canova as finer and more perfect than that of the Vatican, which
has been seriously impaired by modern polishing (Mrs Jameson,
P- 335)- Similar judgments were expressed in Rome soon after the
discovery; therefore the Pope was urged to forbid the export, but
the replica already in the Vatican seemed to him to be sufficient,

LONDON, LANSDOWNE HOUSE 66, 6/. 455

so that the new copy was secured for Lansdowne House at the
I)rice of ^600 (not ;^7oo as Payne Knight states, himself valuing it
at ^1400, cf. Report from the Elgin Committee, pp. 95, 99). The
Diskobolos in repose which was found a few steps away from this
Hermes {Mus. Pio-Clem., iii. 26. Arch. Zcit., 1866, PL 209, i, 2),
would have quickly followed it, but it was bought for the Vatican
and forms a conspicuous ornament of the Museum there. (Cf
Hamilton's letters of Jan. i, 18, Feb. 18, Aug. 6, Sept. 30, Dec. 26,
1772, March 4, May 7, July 7, 1773.) H. 1-99. \*mW\

66. Bust of Marcus Aurelius. New : nose, r. eyebrow,
breast. H. 0-39. L. office 0-21. [*]

67. Statue of Artemis. Clarac, iv. 564 A, 1213 A. The
goddess is draped with the Doric chiton, open at the 1. leg, and its
upper fold not girdled. She steps forward a little with the 1.
leg, whereby the folds of the drapery are determined; they are
simply treated, tolerably rich on the upper part of the body. The
whole impression of the figure is grand and lofty, yet this lies more
in the motive than in the execution. R. arm raised, 1. lowered; the
nude parts however of both are new. The breadth of all parts of the
figure made Miiller suggest Demeter, Waagen Hera; but a strap
which runs from the r. shoulder slantwise over the breast is continued
on the back (which is but slightly worked) in the shape of a shallow
furrow with a peg of metal in it, which was meant to hold a quiver.
This establishes the interpretation of the figure as an Artemis.
Moreover the figure itself is not as broad as it looks owing to the
arrangement of the drapery, especially near the r. arm ; the hips are
fairly narrow, the stomach flat; the breast indeed is strongly de-
veloped. The statue doubtless represents a somewhat early and
severe type of the goddess designed for a temple, perhaps of the 5th
century b.c, and related to the later types somewhat as the Parthe-
nos of Pheidias to the later and slenderer statues of Athenfe (cf no.
33). The neck is modern, and so a doubt as to the head being
original may be entertained, all the more readily as, though it is of
PenteHc marble like the statue, yet it displays a finer quality. This
is however not a strong objection in the case of draped statues, as
the head and neck were often worked separately and inserted, not
seldom also consisting of better material, e.g. on the Demeter of
Knidos in the British Museum (cf also Petworth, no. 5). Our
head matches the statue thoroughly ; we have in it an older, l)roader
and more powerful forerunner of the heads of those statues of which
the most beautiful example is the Colonna Artemis in Berlin {Miiller-

456 LONDON, LANSDOWNE HOUSE 68— 70.

Wieseler, 11. 16, 167), and most nearly resembles the head of the
Vatican example {ibid. 11. 15, 162 a. Mies. Pio-Cletn., i. PI. 29);
the hair is drawn back sideways in detached waving masses, by
which treatment the impression of breadth is enhanced. This head
may be said to stand to those in a similar relation as does the whole
statue to those more animated figures, the conception of which
certainly pertains to Attic art of the 4th century b. c. Moreover a
bronze pin on the top of the head, a little to the 1. of the parting,
can hardly be explained otherwise than as serving to fasten a half-
moon, as an attribute of Artemis-Selent;. New : nose and pieces of
lips and chin. H. 2'o6. \^mW'\

68. Statue of a boy. Clarac, iv. 763, 1877, " Harpokrates."
Antique : torso, curly head, lowered r. upper-arm, 1. upper-arm which
lies before the breast, also 1. thigh and lastly both feet and pedestal.
Head re-set, but original; new are nose, parts of upper lip and
of curls ; a pin over the forehead held a top-knot there, of which the
join is still preserved. No sufficient evidence exists for the restora-
tion of the characteristic motive of Harpokrates, namely the fore-
finger laid on the mouth. H. 1-15, with pedestal 1-23. Bought
from Hamilton, 1771, for J[^2>° {Memorandum, no. 11.). [*]

6g (under no. 68). Circular ara of Apollo and Dionysos.
Four upright thyrsi, from which hang four different garlands, divide off
four fields, which follow each other thus from 1. to r. : {a) from a gar-
land of vine-leaves hang a pedum and a small round discus on which
is represented Eros dancing, with torch in lowered r. hand, and a
cup.(?a bunch of grapes? much defaced) in 1. Below, a Bacchic
panther drinking out of a large krater. (/') Under a garland of laurel
stands the tripod of Apollo, entwined by a snake; above, a swan
swimming with out-spread wings (head and neck missing) ; on r. by
the tripod the bow and quiver, {c) Undei' a garland of ivy a pine
tree, on the branches of which hang a Bacchic drinking-horn with
an animal's head {rhytori) and a double flute, straight and curved.
{d) Under a garland of laurel sits the griffin of Apollo. All in low
relief The mingling of the symbols of Apollo and Dionysos on the
same ara is interesting (cf. Cambridge, no. 50. Stephani, Compte-
Rcndu, 1861, pp. 58 ff.). H. 1-09. Diameter, 0-48. [*]

70. Group of Eros and Psyche. Clarac, iv. 653, 1501 A.
Psyche is represented as a half-grown girl. She stands in quiet atti-
tude, resting principally on r. leg, and is draped with a doubled chiton
which has slipped down from the r. shoulder, and with a cloak
which covers the middle of the body and the r. thigh, and is thrown

LONDON, LANSDOWNE HOUSE 71, 72. 457

with its corners round the 1. arm. Of her butterfly-wings the stumps
are antique, as is the advanced 1. forearm with a butterfly, and the r.
arm with small torch lowered. Both attributes are in themselves
appropriate to Psyche, but still in the position and combination here
found are scarcely explicable ; they would be more easily explained
if held by Eros. Psyche's neck is new, the head encircled by a
broad cloth is antique (new: nose); it seems to me after repeated
examination to be original, and so too thought Clarac and Prof G.
Hirschfeld, who studied the group with me, while Conze leaves it
undecided and Bernoulli has strong doubts. If the head originally
belonged to the figure, the peculiarly melancholy expression of the
lowered face would suggest that an object held in the 1. hand,
perhaps something broken, attracted her regretful attention. Close
to Psychfe, though not absolutely leaning on her, stands Eros with
his r. arm round her back ; r. leg advanced. His glance is also
directed towards Psyche's 1. hand, and no doubt his 1. arm was
always extended in this direction. New are lower parts of both his
legs, 1. arm, the greater part of his wings, besides the whole of the
upper part of his head including eyes and nose (the lower part of the
head broken off but antique) ; lastly r. hand, r. shoulder and piece
of breast, while the arm itself is antique and in one piece with
Psychfe's back. That the two figures belong to each other and have
been rightly put together again in their present position is indubi-
table. The group conveys an impression of elegance, though not to
compare with the Capitoline group. I should ascribe its invention
to Alexandrine rather than to Roman art. Conze conjectures that
the group may originally have pertained to the decoration of a grave,
representing two deceased children under the ideal figures of Eros
and Psyche, which figures are so often found on sarcophagi. Execu-
tion fair, but on the other hand not remarkably good. H. 1-03. The
group was found, 1769, in Hadrian's Villa by Hamilton, who at
first offered it to Mr Anson for ;i^3oo and thcreu^jon sent it to
Lord Shelburne for the same price ; Hamilton thought very highly
of it (letter of Dec. 15, 1771). [*BCm]

71 (under no. 70). Cippus. On front the inscription: Di/s
Manibus \ Claudia Hyllo, \ vix{if) ann(is) IJII mens{ihus) VII \ dicb{us)
V, Claudius \ Tauriscus pater filio \ karisslmo. Over it a lunette with
winged Eros, sleeping, on a rock ; the r. hand laid on head which is
leaning on 1. arm. On the sides, 1. the ewer and r. the cup. H. 0-92.
L. 0-65. D. 0-42. \*BC\

72 (on a modem pedestal under no. 71). Modern copy of a

4S8 LONDON, LANSDOWNE HOUSE 73-/5.

relief from the Rondanini Palace, now in the Lateran Museum, no.
245, representing an actor and a Muse (Winckelmann, Mon. Jncd.,
II. no. 192, Museo Lateran., PL 42, 4). A thoroughly accurate
copy, of dry workmanship, well preserved even in the parts most
delicate and liable to breakage. Carrara marble. [*C]

73 (under no. 71). Sepulchral monument, with the inscrip-
tion \Qii-ini\ilia A. I(ib.) Secunda, A. Quintilius A. {lib.)Ero... Above
it two small busts, facing each other, the woman with hair arranged in
the style of the first century a. d., with fillet and plait, the man
beardless ; between the two a dog (?) with collar. On the field
behind the man a V (modern ?). H. 0T9. L. o'36. [*^]

74 (under no. 71). Relief with six figures. From 1. tor: ((7)
Herakles, youthful, full face, quite in the attitude of the Farnese statue
in Naples. (/;) Aphrodite in chiton and cloak, unveiled, going r.,
carrying with both hands a small cup with fruit, {c) Eros, winged, full
face, raising r. arm to Aphrodite and lowering the 1. arm. (d) Bacchic
female, full face, in chiton and cloak ; on r. arm rests a thyrsos (?),
1. arm akimbo, ic) A female figure (Hebe?), turned a little 1., in
chiton with sleeves and cloak, holding a cup in lowered r. hand, with
1. grasping a corner of the drapery (?). (/) Zeus (?), bearded, facing
1., in long chiton and cloak, carrying on 1. arm a large cornucopiae, in
the r. hand raising a small thunderbolt (?). The figures b, d, e, f
wear fillets round their heads. Graceful composition ; dehcate work-
manship; a -somewhat suspicious appearance seems to arise only
from retouching. Greek marble. H. 0-24. L. 0-45. [*^J/]

75 (on the wall). Front of a sarcophagus : the Muses.
Cavaceppi, Race, 11. PI. 58, 1. From 1. to r., adopting the common
nomenclature; {a) Polyhymnia, enveloped in her drapery, leaning
on a pillar; in the background a sun-dial on a high pillar. (V)
Euterpe in long chiton, with two long flutes, of which one has five
holes, the other none, (c) Thaleia in chiton, cloak and shoes, with
a perforated staff in the r. hand and a comic mask in the 1. {d)
Melpomenfe, in broad-girdled chiton and cloak, planting with the r.
hand a pedum (not a club) on a bull's head (indistinct), on 1. arm
the bearded tragic mask, (if) Erato, in the pose of the Aphrodite
of Melos, but with chiton, resting her lyre on a pillar. (/) Hermes
with petasos (wings indistinct), chlamys and herald's staff, setting r.
foot on a pedestal, on which stands a comic mask. {£) The de-
ceased, apparently beardless, with hair cropped short, in tunic and
pallium, a roll in 1. hand. (Ji) Athenfe, fully armed except for the
shield, holding up a branch of olive in the r. hand (apparendy

LONDON, LANSDOWXE HOUSE -jG. 459

antique). (/) Kleio with the roll in her hands, and a bundle of
rolls by her on the ground. In the background {k), the upper
part of the figure of a young girl, full face, probably a relative of
the deceased. (/) Terpsichor^ with the cithara and the plectron.
(w) Urania with the globe and stylus, on the ground a comic mask.
(«) Kalliopb with the diptychon. All the Muses are adorned over
their foreheads with the plumage of the Seirens. In the back-
ground is a hanging. Late, rather bad work in half-round relief.
Restoration unimportant. L. 2'i6. \CMm\V\

76 (over the chimney-piece). Relief of black marble or
basalt. Mon. deW Inst., iv. PI. 29, cf. Annali, 1846, pp. 155 ff.
(H. Keil). At the bottom runs a narrow strip enlivened by Tritons,
dolphins, hippocampi and other fabulous sea-monsters. Twice also
a little winged Eros is seen amongst them ; in one place he hovers
over a fish behind a bird which holds an eel in its beak. The
principal field above contains four deep semicircular niches termi-
nating in the form of an arch at the top, with plain smooth border ;
they were no doubt meant for the reception of statuettes. At each
end an ornament of climbing branches ; composition almost the
same on each side. Below these a figure (1. female, r. male) emerges
from a calix of acanthus, above these a boy with a pedum (1. a shoot)
in one arm ; above, a girl, lightly draped, in ungirdled chiton which
leaves one breast exposed ; quite on the top the upper part of
a boy's body springing from a calix of leaves, holding up a wreath
in either hand. Between the four niches there are three rather
broader fields. («) In the first field, 1. a ship with four oars moves
1., on the stern a xn'^'-^'^'^^i ^-t the prow the figure of a dolphin ; a
sail is set, but a mast is not visible. In the ship sit two nude men,
apparently with arms tied (at least the one on the r.), and between
them stands a third, turning up his head with the 1. arm laid upon it.
Above, three winged females sit on rocks, their legs covered by
cloaks; the one on the 1. holds a cithara, the one on the r. pro-
bably held in the r. hand (arm missing) a flute, the third is almost
hidden by her. Obviously a reference is intended to the adventure
of Odysseus with the Seirens. {b) In the centre field moves a ship,
at the stern a panther's head, at the prow a x'?>'to-/<os, behind at the
steering paddle a man sits with raised 1. hand (head missing), opposite
him on the right another with advanced r. hand. In the waves swims
a dolphin. This can scarcely mean the transformation of the Tyrrhe-
nian pirates into dolphins by Dionysos. Above the ship a large I)
in relief. Quite at the top is a tasteful spray of ivy. {c) In the field

460 LONDON, LANSDOWNE HOUSE jSa — TJ.

on the r. again a ship adorned with xnviaxo'i and human mask
(Medusa's head?); in it remains of a mast with a sail (?), and two
nude sailors raising the r. arm briskly. The one looks up where
two birds are hovering, the one downwards, the other upwards. In
the water a dolphin and another fish. Keil discerns herein the ad-
venture of the Argonauts with the arrow-feathered birds near the
island of Aretias (Apollonios Rhod., 2, 1031). At the top runs a
narrow frieze, adorned with animal and hunting scenes. In one part
wild beasts tear each other; in another boys or youths, here nude
there lightly draped, here on foot there on horseback, take part in the
struggle, or are seized by the beasts, or stand between the scenes.
Here and there an isolated tree, in the middle a small wood.
The representation is very animated ; more graceful than the princi-
pal reliefs. Above it an ovolo ornament. The whole monument is
highly polished, the reliefs raised very high and delicately worked out.
The original intention of the monument is as little evident as is the
meaning of the letter D. H. 0-54. L. 1-84. Found by Hamilton,
1769, in Hadrian's Villa, and sold for £k^o to Lord Shelburne. [*]
If I am not mistaken there are still on the chimney-piece

76 a. Two pseudo-Egyptian idols of Hadrian's time, and of
similar material, found at the same time and sold for ^^150 {Memo-
randum, no. II.) ; probably also

'j^b. A genuine Egyptian terminal bust, in green basalt,
sold for ;^30 (letter of Aug. 6, 1772).

77 (on the wall). Front of a sarcophagus : rape of Perse-
phone. The representation is divided into three scenes (cf Soane
Museum, no. 26). First scene (Demeter looking for her daughter).
In her two-horse chariot comes Demeter, in girdled chiton, with an
over-fold, a torch in her 1. hand ; in the r. it is now missing ; head
new. Before her in the chariot the wings and head of a small
figure, according to Matz perhaps an Eros, according to the analogy
of other replicas very likely a Hora. Above, in the background, is
visible the winged Iris holding a flying drapery with both hands.
The heads and necks of the horses are turned backwards in strange
fashion (apparently modern). Below the horses is Tellus, half sitting,
half reclining on her r. elbow. She directs her head and 1. arm up-
wards. Second scene (Persephonfe gathering flowers). Persephonfe,
apparently not quite finished, kneels under the forelegs of the horses,
looking up 1. ; she raises her r. arm and lays her 1. hand on a basket
of flowers standing by her. On the 1. stands an Eros, holding an
inverted cornucopiae with both hands. Third scene (the rape).

LONDON, LANSDOWNE HOUSE 78. 461

Behind Kora we perceive a group of two females. 'I'lic one,
Artemis, whose nude 1. leg is partly visible, Iiastcns 1., but turns her
face back and grasps the other, Aphrodite, below the elbow. The
lattei, whose chiton has slipped down from the r. shoulder, hastens
r., looking back after Artemis, and laying her r. hand on the shield
of Athena, who speeds in the same direction and in her turn lays
her hand on Pluto's shoulder. Pluto, with his back to the spectator,
is already mounting his chariot; r. arm broken off, 1. forearm re-
stored. Persephon^, of very small proportions, lies in his arms ;
especially striking is the up-raised r. arm. Remains of the legs of
Pluto's horses are still preserved ; all besides missing. The slab is
unusually large, the relief very high, the composition of the several
parts not clearly discriminated, the work unpleasantly mannered. Cf.
Gerhard, A/cad. Ahh., 11. p. 484, no. 35. Forster, Raiib dcr Persephone,
p. 198. Overbeck, KunstniythoL, iii. p. 633. Hamilton had formerly
bought the slab from Adams for 100 Roman crowns and got it restored
for 60 cro\vns ; for the latter price (about ^^14. I2J.) he made it over
to Lord Shelburne (letter of July 12, 13, 1776). [CMm]

78. Group of Leda and the swan. Clarac, iii. 410 B,
1 7 15 A. A replica of the often repeated group, which represents
Leda half sitting and pressing the swan to her embrace, while the
cloak held up with her 1. hand is to protect him from the threatening
eagle (cf. Oxford, no. 28). The chiton is very delicately and thinly
worked, the deep folds of the cloak are very much undercut ; the
body too is not bad. New : 1. arm with cloak, r. arm as far as the
wrist, sundry pieces of drapery, head and neck of swan. For the
head of Leda cf. Hamilton's letter, below. Pentelic marble. H. 1-26.
The specimen was found, 1775, on the Palatine in the Villa Magnani
and offered by Hamilton to Lord Shelburne for ^100. "P'or excel-
lence of sculpture it surpasses every other ; the head though found
with the statue and of the same marble, yet is doubtful whether it be
its own. It is beautiful and fits it. I can affirm nothing more. The
r. arm and some of the 1. with some of the drapery are restored "
(letters of Aug. 8, 1776, May 26, 1778, no. xxxi.). It seems that
Lord Shelburne was not contented with it, and negotiations were
entered into with the Bishop of Derry (cf. Ickworth, and Introd.,
§ 62) with regard to its purchase. Ultimately Hamilton made over
the piece to Lord Shelburne for ;£6s, as a pendant to no. 70 (letter,
1779, Nov. 10). Another replica came into the possession of the
Duke of Buccleuch (cf. Dallaway, p. 337. Fea, Osservaz. sui nionutn.
che rappr. Leda, p. 10). [*CJ/']

462 LONDON, LANSDOWNE HOUSE 79—83.

79 (under no. 78). Sepulchral ara of Terpolia Procilla.

On the front is represented a sleeping female figure with upper part
of body nude, the hair arranged high in front. L. hand rests on an
urn with water flowing out of it. By it flies an Eros with wreath. By
it the inscription DIs Mattibus sacrum. \ Terpo^Hae (after the ^ is a
cancelled /) Procillae \ P.f{iliae), vixit mmis XIIII dicbus LI II II, \
Ti. Iiilhis Heradides \ uxori carissimae \ fecit aram et \ monimenium
(the two last words are a later addition) ; quite at the bottom : ct
liberiis libertabus \ posterisque eorum. On the sides, 1. the ewer, r. the
cup. H. 1-20. L. 079. D. 0-50. [*C]

80 (above in the wall). Slab of a sarcophagus. In the
middle an Eros growing out of the calix of a flower, the hands resting
on the back of the head, at each corner stands an Eros ; all three
bear garlands. Within each of the garlands two masks facing each
other; 1. of two Maenads crowned with vine-leaves and between
them a thyrsos ; r. of two Satyrs, one with a ragged moustache, and
between them a pedum. Low, poor relief, [vl/]

81. Terminal bust of a girl. Clarac, v. 779, 1933 B. The
terminal pillar, draped towards the upper part with a double chiton,
gradually passes into the girl's body, which however remains very
square up to the neck. The head is intentionally kept in severe
style, the hair, brushed off the face on both sides and t^visted
round a fillet, falls down the shoulders in a few stiff tresses. In
style the figure reminds one of the archaistic statues in the Villa
Ludovisi and the Villa Borghese (cf. Schreiber, Villa Ludovisi, no.
29). New: almost the whole r. arm with a key, half the 1. arm
with an ewer, besides the greater part of the terminal pillar. The
genuine part is 07S high. This "terminus of Isis, very elegant,"
was found by Hamilton in Hadrian's Villa and presented to Lord
Shelburne (letter of Aug. g, 1775). [*]

82 (under 81). Sepulchral ara of Serenus. Above, a
Medusa's head between two rams' heads, all symbols for averting
evil. Below them the inscription : D{is) M(anibiis) \ Sereni \ Aii-
g{tisti) lib{erti) \ a sacris \ fecit \ Coelia Amanda \ mariio \ carissimo\
et sibi. On each side a tree with a bird. H. 0-77. L. 0-56. 0.0-33.
[*C]

83. Statue of a wounded Amazon. Spec, 11. PI. 10.
Clarac, v. 833 B, 2032 C. One of the finest and best preserved speci-
mens of that type of wounded Amazon, which is on good grounds
referred to Polykleitos (cf Kliigmann, Rhein. Miis., xxi. p. 322.
Kekule in tlie Covimentationcs in honorcin Tli. Mommseiii so:, Berlin,

LANSDOWNE 83.

LONDON, LANSDOWNE HOUSE S^- 463

1877, p. 481) ; there is a torso of the same type in Oxford, no. 24.
The leading motive of languid repose is expressed with especial
clearness in the weary eyes and slightly opened mouth. It is in
keeping with the wound near the r. breast consisting of a sharp cut
with ten drops of blood below it. The Amazon, then, young and
strongly built, leans with her 1. elbow on a pillar; the weight of
the body rests in part also on the r. leg, the 1. is somewhat drawn
back. The r. hand lies on, or rather a little above, the head, so
that the hand remains in good view from below. The head is con-
siderably inclined sideways. It is as like the head of the Doryphoros
by Polykleitos as sister to brother. It is not so sharp in its contours
as are, for example, the heads on similar statues in Berlin (Won.
dcW Inst., IX. PI. 12) and in the Sciarra Palace at Rome (Matz-Duhn,
Ant. Bildiii. in Rom, I. no. 942), or as the head in the British Museum
(Graeco-Rom. Sculpt., no. 150. Mus. Marbles, x. PI. 5), all of which
belong to the same type. The waving hair flows very softly; the
whole is an excellent translation into marble of the characteristics
of a bronze original. The broad breast recals the figures of the
pediment of the Parthenon. Knees and thighs excellent. The
arrangement of the woollen chiton is characteristic of this type.
In consequence of the unfastening on the 1. shoulder it leaves both
breasts free, and forms in front of the stomach a strong mass of
vertical folds. The buckle of the girdle is represented in detail
with great care, the whole statue being generally very well executed.
The preservation of the surface is excellent. Unfortunately the
marble, which is Pentelic and is in other respects very beautiful,
contains rather strong micaceous strata. These have been the
main cause of the statue being damaged. However the head, r.
arm and r. hand for example, though broken, have been accurately
joined together again ; the head is quite certainly antique. New :
half the nose, half of r. arm turned towards the spectator to wrist,
tip of thumb and the four fingers of r. hand, half 1. forearm with
hand, the column from just below the piece that connects it with
the figure, both legs from below knee. (Cf Michaelis, Arch. Anz.,
1862, p. 335. Arch. Zeit., 1874, p. 38. Kliigmann in Liitzow's
Zcitschr. f. d. bild. Kunst, v. p. 75 note.) H. I'gS. According to
Dallaway, pp. 342, 373, the statue was found in Tor Colombaro by
Hamilton (1771). In reality Hamilton mentions as found there
a "fine Amazon large as life" (Jan. i, 1772), which he subsequently
offered to Lord Shelburne; when he designated it as "one of the best
of that kind" and praised the head especially (March 4, May 7,

464 LONDON, LANSDOWNE HOUSE 84, 85.

1773)- The Earl closed with the offer for ^200 (Sept. 12, 1773),
but on the receipt of this and sundry other specimens (nos. 63, 87)
was "somewhat dissatisfied, in particular with the Amazon" (March
i3i 1774)- This is scarcely comprehensible in reference to our
statue, but is probably in part explained by the fact that Lord Shel-
burne, as he went on to inform Hamilton, already possessed an
Amazon (thus clearly from another source, perhaps Jenkins or Cava-
ceppi), whereupon Hamilton expresses the hope "that in all pro-
bability Mr Grenville (presumably one of the Prime Minister's
brothers) will take it ; " he is willing to send another statue in its
stead (May i, 1774). Mr Grenville was in fact prepared to take
it, but not immediately (Apr. 16, 1775); however more than a year
later Hamilton again writes : " I hear that Mr Barry (of Marbury
Hall ?) is arrived in England. I shall desire him to take a look of
the Amazon and hope he will find a place for it" (July 13, 1776).
It is certain that there is no Amazon in Marbury Hall, and only
one in Lansdowne House, and that to this the characteristics of
Hamilton's specimen correspond ; still there remains some obscurity
about the whole affair. If Lord Shelburne really altered his estimate
of the Amazon of Tor Colombaro at a later period and kept it,
then where is the one which he possessed before ? [* Cm ]V\

[84. Modern copy of the beautiful head of a youth in the
British Museum (Graeco-Rom. Sculpt., no. 151), found by Fagan,
once in the possession of Samuel Rogers. Spec, 11. PI. 18. *]

85. Statue of Hermes. Clarac, v. 814, 2048 A, "Jason."
A replica of the statue from the Villa Negroni, now in the Louvre,
which was formerly called Cincinnatus and restored accordingly.
From the time of Winckelmann and Visconti it kept the name Jason
until lately, when the comparison of coins {Afus. Class. Anfiq., 11.
p. 292) and other considerations have led to its recognition as a
Hermes (cf. Lambeck, De Menurii statua. Thorn, i860). It is in
fact the most speaking illustration of those Homeric verses in which
Zeus gives a commission to the messenger of the gods :

c5s ^0aT', otj5' dTrid-qfTe 5taKTopos 'ApyeL(p6vTt]s'
avrlK^ ^Tret^' viro TTOculv iS-rjaaro KoKa 7r^5i\a,
d/jL^p6<na, xpvaeia, k.t.\.

(//., 24, 339. oy.,5, 43.)

Christodoros describes a bronze statue representing Hermes at this
very moment {Ant/wl. Palat., 2, 297 — 302) :

rjv Zi KoX 'Ep/xelas x/"«'''''W"''"' IcTa/id'os Si
Se^tTfpTJ TTTfpofi'Tot dfe'.pve Sfffpia, V(Sl\ov,

LANSDOWNE 85.

LONDON, LANSDOWNE HOUSE 85. 465

(is 6S0V dtfat XeXiTj/i^KOS" efx^ 7^P ^^1

X«p<« TaOcls afiirffiirev is alOipa kvkKov dwaiir^s,
ofa re Tarpos avaKTos iiriTpuirwinos aKOvoJv,

This description agrees on the whole so well with our statue that
first Heyne, and subsequently M tiller and others, connected the two.
The slender god stands on the 1. leg; he has set his r. foot on a
piece of rock and his r. hand is occupied in tying the sandal ; the
1. arm rests on the r. knee, enveloped in the rich folds of the chlamys.
The whole upper part of the body is bent far forward; the head
is raised upwards with a forcible expression of strained attention.
The replica before us deviates from the other copies (in the Louvre,
in Munich, and in the Vatican, cf. Clarac, iii. 309, v. 814) in this
respect, that the 1. arm is not extended to the sandal like the r.,
but rests idly on the thigh (cf. Visconti, 0/xre Fane, iv. PI. 21).
The artist has meant by this to make it evident that Hermes leaves
off tying his sandal for the moment, so as to be better able to listen ;
letting the r. hand rest meanwhile among the straps. This feature
deviates from the description of Christodoros, and must therefore be
regarded as an innovation, while the other replicas have preserved
the original motive. The artist gained by this deviation a greater
variety in the pose of the arms, and a richer development of the
folds of the chlamys ; on the other hand he impaired the clearness
of the action and the close compactness of the composition. For
this comparative inferiority the statue in Lansdowne House presents
a full compensation in the preservation of the original head, while to
the copies in Paris and Munich alien heads of Parian marble have
been added, the figure in each case being of Pentelic marble. Our
head, however, proves plainly that the strained attention pertains
to the character of the whole figure. This is thoroughly appropriate
to a Hermes in the situation indicated ; but just as inappropriate if
the statue be interpreted as a youth of the palaestra, in the familiar
action of tying on his sandal (cf Konr. Lange, Das Motiv des
aufgestutztcn Fusses, Leipz. 1879, pp. 2 — 12). For the criticism of
the composition it is essential to observe that the original work was
in bronze, which accordingly did not need the heavy support, but
allowed the whole pose to look freer and lighter. Unfortunately
the whole statue has been much restored. New: r. forearm, r. foot,
rock, sandal, ploughshare (suggested by the "Cincinnatus" in Paris),
the support, the greater part of the plinth, 1. arm from shoulder to
elbow, the 1. hand, parts of chlamys, 1. half of nates, lower part of
M. C. 30

466 LONDON, LANSDOWNE HOUSE 86.

1. leg between knee and ankle ; the 1. foot with a portion of the
plinth is antique. The head is connected with the body by a narrow
modern strip, but is antique (restored : nose and part of the back of
the head), and to judge by the quality of the marble and the work-
manship obviously belongs to the statue; the expression too is
thoroughly appropriate. Its resemblance to the head discovered by
Fagan (no. 84) is complete, and it is very nearly allied to the Borghese
Gladiator; thus Gavin Hamilton remarked, " of the same artist that
made the Gladiator at the Villa Borghese ; the head is almost the
same;" again Visconti, Clarac, K. O. Miiller and others compare
the two statues (Lange, op. cit., p. 12). The "meagre treatment of
the muscular body, which is not altogether noble in its modelling "
(Miiller in the "Amalthea"), is common to both statues, thougli in
the Gladiator, which is moreover in part reworked, the anatomical
detail is much more strongly accentuated, by reason of the strained
attitude. The style of both statues alike is founded upon that of
Lysippos (cf Brunn, Glyptothek, no. 151), but the realism has ad-
vanced a step further: the treatment of the body is still "dryer"
{corpora sicciora), the elastic covering of skin still more accentuated,
the details generally more developed. The character of the head
corresponds to the body. A head of Hermes by Lysippos would
have more ideality and poetry than this meagre, sinewy head, the
animation of which is, so to speak, purely of a physical, material
sort. The hair is much less separated and less minutely made out
than is the case with Lysippos. Lastly, the 1. foot, although broad,
is not so long and flat as with Lysippos (cf no. 61, Ince no. 43).
I recognise with IMiiller in the original of this statue— which is
excellent of its kind— the work of a school of art of the Hellenistic
period derived from Lysippos, presumably Asiatic (of Ephesos?).
The workmanship is good, very true to nature ; the surface has been
largely reworked by the restorer. Pentelic marble. H. i -54. The
statue was found by Gavin Hamilton in 1769 in Hadrian's Villa;
according to him " the same as that at Versailles (that is the above-
mentioned replica, now in the Louvre), of better sculpture, though
not so well preserved." He feared that it would have to go to the
Vatican, but as the Pope decHned the high price of ;^soo, Hamilton
sent it to Lord Shelburne, including also no. 64 under that price
(letters of Jan. 28, July 16, Aug. 6, 1772). [*£mll^

85. Head of an Ariadne, with fillet over the forehead,
crowned with ivy. New : top of head, a great part of the wreath,
nose, neck. Poor head enough. L. of face 0-19. Probably the

LONDON, LANSDOWNE HOUSE 87— S9. 467

"head of a woman" bought of Gavin Hamilton for 11 crowns = abt.
^■2. 14J. (letter of July 13, 1776, Memorandum, no. xxxv.). If the
"head of Bacchus" were meant (letter of Dec. 26, 1772), the price
ofp{^5o for this ])altry head would be enormous. [* IF]

87. Female figure, seated. Clarac, iii. 420 B, 748 A,
"Juno." She is sitting with 1. foot somewhat advanced, draped
in a girdled chiton, a wide cloak covering 1. arm and legs ; the
veiling of the back of the head is a modern addition. New also :
1. forearm with staff, the whole r. arm, r. foot, 1. leg with the folds
between the legs, other portions of the drapery. The graceful head,
without indications of the characteristics of Juno, does not belong to
the body, which is of rather small value (overrated by Waagen).
Lord Shelburne had good grounds for being "somewhat dissatisfied"
with this statue, which Hamilton had sent him for ;£^23o as a "sitting
Juno" (letters of July 16, Sept. 30, Dec. 26, 1772, March 13, 1774).
It still less deserves the place of honour in the middle of an apse
than does no. 63. H. 172. [*mlV]

88. Head of Hermes. S^ec.ji.si- Miiller-Wieseler, 11. 28,
304. Braun, Kunstmythol., PI. 88. This fine head, inclined to the
1. shoulder, is distinguished for its delicate, soft forms, for the beau-
tiful mouth, and the intelligent eyes, the upper lids of which project
rather decidedly. The brow is smooth and free, the curly hair not
very much detached. A round felt hat of the shape of a petasos
(cf. Yates, Textrinum a?itiquorutn) covers the very youthful head,
which does not so much represent the crafty Hermes as patron of
trade and gain (xepSwos, as Braun interprets), nor again the overseer
of gymnastic exercises (eVayiunos), but the ideal type of well-bred
Attic youth, not indeed devoid of a touch of sentimentality, so far
from suggesting cunning. It is easily understood that the beautiful
head has become probably the most popular specimen among the
antiques of Lansdowne House. New : half the nose, parts of the .
ears, almost the whole brim of the hat, and the bust. Excellent
workmanship. Pentelic marble. H. 0-29. L. of face o'lj. Found
by Gavin Hamilton, 1769, in Hadrian's Villa, and bought by Lord
Shelburne, 1771, for ^£'55 (Memorandum, no. 11.). [*CmW\

89. Statue of a Diskobolos after Myron, restored as Dio-
medes with the palladion. Clarac, v. 829, 2085 A. Antique : only
the torso, with the junction of the 1. arm, and also the r. thigh and
the (patched) 1. leg as far as half-way down the shin. Following an
indication given by the muscles of the neck, the restorer, though so
decidedly mistaken in other respects, has given the head the proper

468 LONDON, LANSDOWNE HOUSE 90, 91.

turn backwards, as in the Massimi copy of the Diskobolos (Miiller-
Wieseler, i. 32, 139''). The body, of coarse-grained Parian marble, is
of good workmanship, though not positively excellent. On the pubes
the style of Myron's work is well preserved in the small, close-lying,
slightly rounded curls (Plin. 34, 58). The head is antique (new:
nose), but did not originally belong to the statue. It is connected
with the body by a modern neck, has whiskers, and is of a somewhat
barbaric type, in some degree resembling the so-called Perseus of
the British Museum (Graeco-Roman Sculpt., no. 161. Mtis. Marbles,
XI. PL 14); at any rate it belongs to the Hellenistic epoch of art.
H. 175. The torso was found by Gavin Hamilton, 1772, at Ostia
(Dallaway, p. 377). The restoration, which made a Diomedes of it,
looks very like Cavaceppi's work. It seems to have taken a long
time, and to have been conducted in profound secrecy; for not
earlier than 1776 did Hamilton mention the statue to Lord Shel-
burne as one of the finest things he had ever had in his possession,
and sent it to him as a pendant to the " Cincinnatus" (no. 85),
which indeed resembles it sufficiently in style and size. He especially
draws attention to the fact that the statue is beautiful looked at from
every part, and that, though the legs and arms are restored, still the re-
storation is perfectly certain, " because it would be to the last degree
absurd to suppose it anything else " ! It should be borne in mind
that the Massimi Diskobolos, which disposed of many wrong guesses
and solved the enigma, was not discovered before 1781. The price
came to ;^2oo (letter of March 25, 1776). For other replicas and
for an estimate of the worth of the statue cf Welcker, Alte Dcnkm.,
I. pp. 417— 429. {*m]V]

90. Head of a girl, described by Hamilton as "head of a
Muse in the antient Greek taste." It really is a Greek sculpture,
fresh and pretty, though not executed with minute delicacy. She
looks down before her. The face is rounder than that of the beautiful
virgin's head in the Glyptothek in Munich (no. 89, Liitzow, Aliinchner
Antiken, PL 19), the eyes small and rounded, the cheeks broad, the
mouth small with very beautiful lips, the chin high and round. A
very broad fillet encircles the plain, wavy hair, which forms on the
nape of the neck a loose, overflowing roll. New : nose, a piece of
upper lip, bust. Greek marble. H. 0-33. L. of face 0-17. Found
by Gavin Hamilton, 1769, in Hadrian's Villa, and sold for ^15
(Dallaway, p. 369, Hamilton, Memorandum, no. n.). [*.5]

91. Terminal figure of Dionysos, of human form down to
the hips. Chirac, iv. 676, 1560. The head of the youthful god is

LONDON, LANSDOWNE HOUSE 92 — 95. 469

encircled by a fillet, and crowned with vine-leaves and grapes. It is
of delicate but ordinary type, with ver)' narrow eyes, and much de-
faced. Though re-set, it belongs to the figure. New : nose and part
of under lip, both arms with cup and grapes, and the terminal shaft
from the virile emblem downwards. In my opinion it is very ques-
tionable whether this was originally a terminal figure. Tolerable
workmanship. H. o'66. Found by Gavin Hamilton in Hadrian's
Villa and presented to Lord Shelburne as a pendant to no. 81
(letter of Aug. 9, 1775). [* t^]

92 (under 91). Sepulchral urn of Pompusidia Eutychia,
merely furnished with an inscription. [C]

93. Bust of Athene, colossal scale, fragment of a statue of
the type of the Pallas from Velletri in the Louvre (Clarac, in. 320,
851), but of more perfect art, though not so good as the head from
the Villa Albani in Munich (Glypt., no. 92, Miiller-Wieseler, n. 19,
198), exactly corresponding. On the high Corinthian helmet there
are still the remains of a snake, but otherwise it is without orna-
ment. The face displays a powerful oval. All the forms of the face,
though pretty much retouched, give unmistakeable glimpses of the
sharpness of a bronze original. The outer edge of the lips is de-
fined by a line, the eyelashes and the brow-line are very sharp.
The wavy hair, equally in the style of a bronze, is gathered on the
nape of the neck into a roll which falls a long way down. The
conception undoubtedly belongs to the best age of Greek art. Of
the bust the r. shoulder is antique, with parts of the chiton and of
the scaly aegis with the fringe of snakes, and a hole for the insertion
of the raised arm. It is much patched about the snakes. New :
fore part of bust, with aegis and gorgoneion, and 1. shoulder with
cloak ; also half the nose and small portion of the lips, the extreme
tip of the roll of hair, the front points of the helmet. Greek marble,
apparently Pentelic. H. I'oS. L. of face 0-25. Found in Roma
Vecchia, bought of Gavin Hamilton, 1771, for ;C^°4 (Memorandum,
no. 11. Letter of Dec. 15, 1771). [*CmlV]

SIDE G.\LLERV OF THE BALL ROOM.

94. Bust of Antoninus Pius. [*B]

95. Terminal bust of a Greek poet, a replica of the so-
called Hesiodos in the British Museum (Graeco-Roman Sculpt., no.
119. Aft/s. Marbles, 11. PI. 44), with however a more picturesque
treatment of the beard. New : nose and terminal shaft. [*^]

470 LONDON, LANSDOWNE HOUSE, 96 — lOO.-

96. Candelabrum. On a pedestal are four boys with garlands
of fruit. Connected with this by a modern piece is a tall column
with a pretty relief of scrolls of foliage. The surmounting ornament
is again modern. H. abt. 2-40. Probably the "fragment of a
candelabrum" which Gavin Hamilton presented to Lord Shelbume
(letter of July 12 and 13, 1776). [*£]

Here are provisionally deposited the following marbles:

97. Statuette of Serapis, enthroned. Clarac, iv. 758,
1 85 1 A. Quite the common type, with Kerberos by the r. leg. Face
full and thick. New : nose, a portion of the hair and modius, the
raised I. arm from the cloak upwards, the r. forearm, the middle
snout of Kerberos. Ordinary sculpture. H. 0-75. [*]

98. Child's sarcophagus : Cupids as armourers. At the
extreme 1. a Cupid sets in motion a pair of bellows to enkindle a fire
which burns on the forge with a vaulted roof. On his r. a seated
Cupid holds with a pair of tongs an indistinct piece of armour
(greave?) on an anvil; two Cupids are hammering at it. In the
centre two Cupids, symmetrically disposed, hold a large helmet over
a corslet which Hes on the floor; then a similar pair holding a .shield,
which a comrade, half-kneeling, bears up with both hands. The
lower part to about the height of the knees is restored. On each a
sitting griffin. Pretty motives, poorly executed. H. 0-35. L. 1-24.

99. Child's sarcophagus : boys playing with nuts.
On the extreme 1. is indicated the door of a house. Then come
three groups, (a) A boy stands bending fonvard to the r., grasping
the bosom of his tunic with the I. hand and advancing the r. Facing
him comes a boy, with 1. hand before his breast, his r. hand laid on
the head of a weeping friend. On the ground two nuts. (/') A boy
kneeling facing 1., his r. hand, full of nuts, on the ground. A second
hurries up from the r., advancing r. arm and making a signal of
warning with the 1. hand, (tr) A boy hurries to the I., with three nuts
in r. hand, holding the 1. before his breast. Behind him stands a
companion with a nut in his r. hand and an amphora in the I. arm.
(The same subject otherwise treated Ince, no 247% Newby, no. 31.)
On each side a barbarian's shield, in incised outlines. H. 0-31.
L. 0-90. [*il/]

100. Front of a child's sarcophagus of Zotice. Above
two crossed horns of plenty, two Cupids hold a shield with the

LOXDON, LANSDOWNE HOUSE, lOI — IIO. 471

inscription : Trophima 9 Zo'ticerii \ filiae \ b(ene) m(creiiii). The
mark after the first name perhaps serves as a stop. Next come both
1. and r. the group of Cupid and Psyche, embracing each other,
and by them a tall vase ; at the end a Cupid with apron, supporting
a staff on the ground with one hand. Bad workmanship. H. 0^4 1.
L. 1-69. YM\

loi. Small sepulchral ara of Cornelia Briseis. Above,
a bust, much corroded. Below it tlie inscription, wliich looks very
suspicious : D{is) M{aiiibus). \ Corneliae \ Briseidi \ Corniclius) The-
seus I Corn(cIius) Autolycus \ coniugl b{cne) m(crcnti) \feccnint. On
the sides ewer and cup. H. 0-63. L. 0-24. D. o'l;. [*C]

102. Bearded head, much impaired. [*]

103. Head of a youth, much mutilated. [*]

COURT AND GARDEN.

104. Tv/0 fragments of a long, low frieze, witli Tritons
and other marine creatures. H. o'29. L. 2-30. [*]

105. Female figure belonging to the lid of a sarcopha-
gus. A female figure in the stola, with the head-dress of Julia Titi,
lies on a couch, her head laid on 1. hand. The r. hand holds a
bunch of poppies. [*y]/]

I cannot find out in Lansdowne House, besides the second
Amazon mentioned on no. 83, the following specimens, which are
mentioned in Gavin Hamilton's letters as having been sent there.

106. " Fountain nymph, holding an antique vase upon her
knee with both hands; a very sweet figure," intended as a pendant
to no. 70, for which purpose the Leda, no. 78, was subsequently
determined on. It cost ;£2oo (letters of March 4, May 7, 1773.
Memorandum, no. xix.).

107. " Erma of two faces," valued together with several
other pieces at £,(>o; distinct from nos. 7, 8 (letters of May 6
and 30, 1775).

108. Statue of a Bacchus, ^15 (letter of May 30, 1775).

109. Venus, ^15. (//'/(/.)

no. Sleeping Cupid, presented by Hamilton (letter of July
13. 1776)-

The four last pieces were meant for a summer-house or for the
garden. Can they be at Bowood, the favourite country scat of Lord
Shelburne ?

472 LONDON, LORD LEICESTER— MELLHUISII.

Lord Leicester.
Lord Leicester kept in 1877 in his town house, 19, Gros-
venor Square, two antique busts, which are described under Holkham
nos. 59, 60.

Geo. M^Leay, Esq.
See South Kensington Museum, nos. i — 17.

Lord De Mauley.

Among the amateurs of antique sculpture, Waagen {Tiras. i. p. 37)
mentions William Francis Spencer Ponsonby, first Lord de
Mauley (1787—1855), the third son of the celebrated collector,
Lord Bessborough (Introd. §§ 35, 71). Of his antique marbles he
specifies the following {Treas., 11. p. 83).

1. "A female head, above the size of life, in marble, with
widely open mouth, of the noblest character, of e.xcellent style, and
broad and careful in treatment. It would be difficult to decide the
subject of the head, though I believe it to be a genuine Greek work
of a very good period." Evidently it is the head in South Kensington
Museum, no. 18, now in the possession of Lord de Mauley's second
son, the Hon. Ashley G. J. Ponsonby.

2. "Head of a muse, decorated with grapes; small, but lovely
in character, and tender in workmanship."

Besides these pieces Waagen mentions a cammeo, a small bust of
chalcedony, and a vase. This last is probably the great bronze
krater from Southern Italy now in the South Kensington Museum.

Mr Mellhuish.

Mr Mellhuish, statuary mason, Lower Tooting, S.W., possessed
in 1873 a child's sarcophagus with Bacchic Cupids. The
procession moves from r, to 1. First of all goes a Cupid of relatively
large size, striking cymbals or a tympanon. Then comes a car
drawn with strong effort by a Cupid and a little Pan, on which stands
a Cupid, personating Dionysos, leaning back somewhat, with each
arm round the neck of a companion. By the car in the background
a Cupid clashing cymbals. There follows a second car drawn by a
Cupid-Centaur playing the lyre. A Cupid reposes in the car, reclining

LONDON, SOANE MUSEUM I. 473

on a cushion, legs covered with a cloak. He seems to be embracing
and drawing towards him an indistinct figure. L. side. A quiver
with opened lid. {M, after a photograph.)

The Hon. Ashley G. J. Ponsonby.
See South Kensington Museum, nos. 18, 19.

So.ANE Museum (13, Lincoln's Inn Fields).

[J. Soane], Description of the House and Museum on the North
silk 0/ Lincoln's Inn Fields, tlie Residence of Sir John Soane. London
(1835. Only 150 copies and 100 of a French edition). A general
description of Sir John Sonne's Museum. London (latest edition,
1876). Waagen, Treas.w.,^. 320 (i. p. 450). Conze, Arch. Anz.,
1864, p. 165. I examined the Museum, 1877.

Sir John Soane, the architect, devised in 1833 his house and
collection to the nation, which entered on possession at his death
(1837). The collection, formed during a long life and consisting of
the most heterogeneous curiosities and objects of art that can be
conceived (Introd. § 90), is distributed over the rooms of the house,
which are mostly very small and connected with one another in a
strange way. A number of very narrow passages, very dark corners,
and the like, impedes a steady investigation equally with the over-
crowding of the rooms and the incredibly inconvenient mode in
which a great part of the contents are arranged, so that the sculp
tures are scarcely within reach of the eye. It is not too much to say
that some of the better specimens can only be seen from the back.
Then again the impression conveyed by so wild a confusion of pro-
miscuous fragments is necessarily bewildering and fatiguing to the
visitor, and I am therefore not sure whether I have been fortunate
enough to discover the principal examples during my repeated
searches through all the rooms. The numbers in brackets appended
to the consecutive numbers of the following catalogue are those of
the collection itself, so far as they could be ascertained.

statues.
I (603). Statue of Asklepios, in composition closely related
to the Vatican statues (Clarac, iv. 549, 115 7). The cloak, the border

474 LONDON, SOANE MUSEUM 2~$.

of which is turned over, covers the legs and 1. arm : the god rests
on the r. leg, the 1. being advanced sideways. The 1. arm is lowered
(new : hand with roll), the r. hand rests on a staff entwined by a
snake (new: upper part of staff, hand and arm, lower half of staff
antique). The head, which is re-set, and connected with the body
by a modern neck, seems to belong to the statue ; it has character-
istics of a Zeus, only the hair falls more heavily. Pupils expressed.
New : nose and part of the tresses. Moderate decorative work. H.
o'87, with pedestal 0-92. [*]

2 (220). Fragment of a Herakles, quite enveloped in the
lion's skin, r. forearm raised, 1. before the body. It may be derived
from a terminal figure of Herakles. Black marble. H. 0-53. [*]

3(613). Statue of Ephesian Artemis. New : head, neck,
1. arm including shoulder, r. forearm, the feet and all below the
lowest strip of figure sculpture (nude parts of black marble) ; the
torso is restored to an unusual degree, the single pieces being sepa-
rately let in. On the upright disk behind the head three griffins, on
the upper part of the arm a lion. On the breastplate two Victories
holding up a wreath together, under which is a crab; above each
Victory an animal running (r. new, 1. a cow ?). The breastplate is
encircled by a wreath of immortelles and a narrower border. Under-
neath the numerous breasts come six strips of relief (much restored)
with five fields on each, of which the first corresponds with the fifth,
the second with the fourth, so that I only mention the third (the
foremost), the fourth and fifth. First (uppermost) strip: three deer;
upper part of the body of a winged female figure ; a stag. Second
strip: three griffins; bee; griffin. Third strip: two oxen; rose; ram.
Fourth strip: roe (new); bee; hare (?new). Fifth strip: eagle (new);
flower; 1. eagle, r. griffin (both new). Sixth strip : hare (new); bee;
flower. H. i-i6. [*C]

4 (769)- Statue of Cupid, as a figure for a fountain. Cupid
sits asleep on a large urn, on which he has set his 1. leg ; arms and
head rest on 1. knee. The r. foot rests on the ground. The wings
are partly broken off, the 1. foot is missing. The urn is perforated.
(For the motive cf. Clarac, iv. 644 A, 1459 D, E.) H. 0-52, with
pedestal o"62. [*]

5 (A). Upper part of the body of a youth, with 1. shoulder
strongly raised, shewing that he must have supported himself on his
1. arm (cf. Clarac, in. 476 B, 906 D, or rather iv. 585, 1265). The
torso is preserved almost to the navel, and a piece of the 1. arm.
Good sculpture. Pentelic marble, much corroded. H. 0-43. [*]

LONDON, SOANE MUSEUM 6— 15. 475

6 (B). Male torso, much damaged. The back is beautiful.

H.o-34. [*]

7 (1015). Male torso, powerful; of very good style. Small
scale. H. 0-35. [*]

8 (322). Torso of a man standing in repose, with a//w-
tello on the body to support the r. forearm. Very animated work.
H.o'43. [*]

There are besides a great number of torsos and fragments which
it would be idle to enumerate.

9 (968). Bust of a sleeping Pan, with open mouth, quite
turned over towards 1. shoulder. Hair and beavd very curly. The
stumps of the horns antique. New : nose, part of checks, of hair, &c.
Highly exaggerated work. H. o'30. [*]

10 (974). Pretty head of a youth, with curly hair lying close
on it, looking down toward its own r. The sober character recals a
fine head in the British Museum (Campanari bust, Phigaleian Saloon).
New : nose and bust. L. of face o'i5. [*]

11 (1174). Fragment of a female head, with low stephani,
of fine, simple Greek work, the eyes and broad cheeks in particular
recal the style of the best period. L. of face, if perfect, abt. o'i2. [*]

12 (11 75). Fragment of a head, apparently male, of similar
style. A ribbon is wound several times round the head. Much
abraded. [*]

13 (969). Bust of a girl, with reticulated head-dress, of pretty,
good-humoured expression. Much restored. L. of face cii. [*]

14 (779). Female portrait-bust, of the period of the Claudian
Emperors, in some degree resembling the "Clytie" of the British
Museum (cf. London, Crichton), but older. The rich hair, daintily
curled, formed a knot {korymbos, now missing) on the top of the head,
and falls down in long curls on the neck ; at the back a roll. The
glance is a httle lowered towards the r. The sleeve drapery leaves
the 1. shoulder free, and here rests on the bosom. This extremely
pleasing, well executed bust, which is quite entire, is, however, some-
what abraded. Restored : only nose and a piece of hair along the
parting. H. 0-53. L. of f;ice o'i6. [*.5]

15. Bust of Felicitas, an old woman with bony f;ice. The
hair, parted in front, is drawn up from the back in a broad, flat plait
as far towards the front as the parting. The neck is broken, but

476 LONDON, SOANE MUSEUM l6— 20.

the draped bust belongs to the head. Below it is the inscription on
a small tablet : ©coyvoxrJTos ^■qXiKtLTa^i) I Trj(i) <rvv\[Piu)], the re-
mainder missing. (For the form of the name ^-qXiKira - Felicitas cf.
C. I. Gr., 1986, 5634, 6292.) On the modem pedestal stands the
inscription " lulia Livia Augusta." New: tip of nose. H. o'4i.
L. efface o'i4. [*]

i5 (775). Head of a beardless, lean man, with bony
cheeks and protruding mouth. A distant resemblance to Caesar.
The hair, which lies close to the head, forms one mass, the details
being only indicated by strokes. Nose mutilated. On the bust,
which does not belong to the head, are illegible remains of a Latin
inscription. L. of face o-i6. [*.5]

17. A large number of portrait busts, partly of Emperors,
of no considerable importance.

RELIEFS, &C.

18 (755). Fragment of an Amazon, Greek work. She
hastens r. in lively movement, so that the folds of the chiton flutter
lightly about the thigh and behind the back. Both breasts are free,
the chiton being drawn up between them in narrow gathers to the 1.
shoulder. The stump of the r. arm, which was stretched out back-
wards, is preserved. Missing : head, 1. arm, all from the abdomen
downwards. Nude parts treated powerfully, drapery delicately and
effectively. The effect of the whole is rich. The fragment recals
vividly the sculptures of the Mausoleum, and like them belongs to the
best period. A cast of it is exhibited in the British Museum. H.
abt. 0-24. [*]

19 (1043). Fragment of Attic votive relief, 1. end. The
anta on the 1. is preserved. By it stands a female figure in chiton,
covered rather closely in her cloak which leaves the r. arm free ; the
r. hand holds slantwise before the breast a long staff (torch .?), the
upper end of which rests on the raised 1. hand. Head missing.
Presumably one of the two Eleusinian goddesses. Pentelic marble.
H. 0-41. L. 0-25. [*]

20 (936). Greek sepulchral relief, r. end. The anta on the
r. and a piece of the architrave with tiles on the top are preserved.
On a couch lies a male figure with modius on head, in r. hand a cup
on the lap. At his feet on a stool sits a female figure, not veiled,
holding a cup or a small box in the raised 1. hand. By the couch a
table with food and a goblet. To the 1., behind the female figure,

LONDON, SOANE MUHF.UM 31—26. 477

are remains of an attendant with a flat cup on the 1. hand. Pretty
careful work ; low relief. H. abt. 0-30. L. abt. 0-30. [*]

21 (1150). Fragment of Greek sepulchral relief, lower 1.
half. On a pillar to the 1. leans a nude boy (much mutilated).
Further r. a female figure on a throne facing r., only preserved from
the abdomen downwards. On her chair leans a female attendant on
a smaller scale (head and breast missing). Figures larger than usual,
relief very high. From Asia Minor or the Greek Islands. H. 0-29.

L-0-3S. [*]

22 (11 26). Small sepulchral relief. In the niche-shaped
field, somewhat arched at the top, sits a female figure on a folding
seat (Si^pos oVXaSi'as), her feet placed on a high footstool, extending
her r. hand to a child who stands before her on a high pedestal,
wearing an ungirdled chiton and offering something to the mother.
Rough, provincial style, scarcely more than sketched in outline.
Detail difficult to recognise. H. o'36. L. o"27. [*]

23 (104). Fragment of Greek sepulchral relief, surrounded
by a flat border ; broken at the top. On a couch a beardless man
sits in full face, in chiton and cloak, playing on a large cithar;i. On
the r., at the head end of the couch, stands an attendant in short
chiton, with his legs crossed, holding his arms before his stomach.
Late, bad style. H. 0-42. L. 0-42. [*]

24. Altar of Herakles. In front, hon's skin and club; on
the r. side a goblet {skyfhos), with sprays of ivy in relief; on the 1.
an ewer; behind a cup. Roman work. H. o'6i. L. 0-37. D. 037.
From the Bessborough Collection. [*]

25(1446). Fragment of a votive relief to Fortuna. The
goddess, fully draped, sits facing 1. on a throne by which stands a large
wheel ; the r. hand rests on the tiller of the steering-paddle, which is
decorated below with a sphere. All from abdomen upwards missing.
Below her the inscription (C. /. Lat, vi. 3174) : F. Aelius Annius
eq{ucs) I siiig{idans) Aug{usii) Palmyrejiu{s) \ \ d. d. Fortunae s(aiic-
tae} salutarif). [*]

26. Front of a sarcophagus with the Rape of Perse-
phone. Engraved in Soane, Description, p. 43, 0\erbeck, Kunst-
mythologic. Atlas, PI. 17, 23. An old drawing in the Cod. Coburg.,
no. 170 M. = Cod. Pigh., no. 182 J., "/« aedibus Card. S. Florae",
another in the collection of Mr Franks in London (cf. above). Cf.
Gerhard, Akad. AbhandL, 11. p. 483, no. 34. Forster, Ratib der Fer-
sephonc, p. 187. Overbeck, /. cit., iii. p. 627. First scene (in
chronological sequence the last): Demctcr searching for her lost

478 LONDON, SOANE MUSEUM 26.

daughter. From the I. Demeter advances on a car drawn by a pair
of horses. Her drapery is long and the cloak waves behind her
back. In her lowered r. hand she holds a torch, of which only
the handle is yet remaining ; the 1. hand, raised and advanced, held
a second torch, which, together with the hand, has disappeared all
except the flame. Of an Eros hovering over the horses only the
wings are preserved (in the old drawings he is still perfect, except
the arms and the r. leg). Hard by the horses floats Iris, with long
drapery and wings, looking back at Demeter ; her r. arm and 1. hand
missing, the latter appearing to have held a cloak, a piece of which
is seen before the 1. wing. Below the horses lies Tellus, seen from
behind, with upper part of body nude, holding in 1. arm a long
cornucopiae and advancing the r. arm towards the heads of the
horses. — Second scene (chronologically the first) : Persephone sur-
prised by Hades while she is gathering flowers. Immediately in
front of Demeter's horses a female figure (Aphroditfe) kneels on the
ground, draped with long chiton, cloak floating over the head, and
with a stephane on the head. She looks back towards the first
scene. Near by her stands a basket filled with flowers ; by it slight
but unmistakeable traces of an Eros, who laid his 1. hand on the
basket. At their backs stands Hades (head re-set but antique), with
a fillet running through the hair ; a chlamys flows down behind his
back. His gaze is also turned towards the first scene. He holds his
r. hand before his breast, the 1. arm (partly broken) is somewhat
raised. Thus he approaches the back of the kneeling Persephone,
whose appearance is very like that of Aphrodite, only that she wears
no stephanfe, her long tresses being tied up into a knot over the
forehead. She lays her r. hand on a basket filled with flowers which
lies on the ground and raises the 1. forearm perhaps to grasp her
cloak. Her glance also follows the same direction to the 1. On
the r. of this figure the slab is broken right through, but there is
nothing missing. — Third scene (chronologically the second): the
rape of PersephonL Next appears Artemis, hastening 1. briskly,
in short hunting dress, with her quiver on her back ; more than half
of both forearms is missing, as well as the whole of the r. leg. The
glance of Artemis is directed towards Athenfe, who is on the other
side of a tree, hastening rapidly r. (lower part of 1. leg missing). She
is in long drapery, and wears the high helmet and the round shield
on her arm; the r. arm she advances to succour Persephon^, who
has just been seized by Hades and lifted on to his chariot. Perse-
phone is represented in the act of swooning ; her figure is extended

LONDON, SOANE MUSEUM 27 — 29. 479

at full length, so that her head hangs down from the chariot ; the
r. arm (broken off) lies on the back of the horse, the 1. arm rests
on the rim of the chariot. Hades has seized her round the body
with his r. arm, and with his 1. hand he manages the reins of the two
horses as they both spring off. The cloak floats behind his back, his
head (re-set, but antique) is inclined towards his beauteous prey.
Above the horses hovers Eros, with a little cloak over his 1. arm,
looking down on Persephon^ ; his r. leg and half of both his arms
missing, yet the remains of an object (torch?) which he held in his 1.
hand are still preserved on the forearm of the adjacent Hermes.
Hermes steps out before the horses, with a chlamys flung around
him, the herald's staff shouldered on his 1. arm ; his r. hand is laid
on the head, which is covered with a winged hat. The 1. half of his
head is broken off, the 1. leg restored. A much-defaced remnant at
his feet is all that remains of Kerberos. On the ground lies a
bearded Water-god (Okeanos, or the representative deity of Lake
Fergus) ; the raised 1. hand (now missing) may have held an attribute.
Very fair but not remarkable sculpture. L. 2-10. [*CMIV]

27 (744). Fragment of a sarcophagus, I. end. On a
chariot drawn by Centaurs (only one equine hinder-part being pre-
served) stands Uionysos, his legs covered in his cloak (head and
r. forearm missing); his r. arm rests on the neck of a small bearded
Satyr with an apron, the 1. on that of a youthful Satyr who looks up
at the god. In his hand the god holds in careless fashion a kantharos
which one of the Satyrs supports underneath. Below the Centaurs
remains of a lion. H. o'Sq. L. 0-32. [*M]

28 (482). Fragment of a sarcophagus, imperfect both on
the 1. and the r. The god Dionysos, crowned with ivy, only slightly
covered by his cloak, with a thyrsos in his 1. hand, sits turned r. on
a rock with his head turned round and supported on the r. hand.
At his feet a panther. From the 1. comes a Maenad in chiton, the
cloak flying behind her back; in the 1. hand she holds a lowered
torch, laying the r. hand on the breast of the god. On the 1. remains
of other figures. Coarse sculpture. H. o'26. L. o'25. [*]

29 (923)- Fragment of the front of a sarcophagus, r.
end. On the extreme r. a small statue of the bearded Dionysos with
long hair and a small modius on the head. He wears a long girdled
chiton with sleeves, and holds a sceptre on his 1. arm, the r. being
lowered. At the foot of the statue is an altar, on which pine-cones
are burning; close by a goat lies on the ground. A Maenad steps
up to the altar, in long drapery, the cloak disposed about her like

480 LONDON, SOANE MUSEUM 30 — 36.

a shawl, and is casting a roll (?) into the flames. On the 1. above,
near her head, the flame of a torch is preserved, which was borne by
another figure now lost. H. 0-65. L. 0-30. [*Af]

30(1125). Fragment of a sarcophagus. All that is pre-
served is a youth in Phrj'gian costume, sitting facing r. on a high
chair ; the chlamys covers the seat as well. The r. leg is raised up
high; on the knee rests the 1. elbow; on the 1. hand the thoughtful
head, which is turned back, rests ; the r. arm lies on the lap. Pro-
bably Paris, whom Eros is telling of Helene (cf. Overbeck, Bildwerke,
PI. II, 12; PI. 12, i; also Brunn, Unie Etnischc, i. PI. 19, 6). H.
abt. 0-40. [*J/]

31 (472). Fragment of a sarcophagus. Remains of a
female figure lying dead or asleep, with upper part of body exposed,
the legs, which are for the most part missing, covered. The r. arm
lies in the lap ; 1. arm and head hang down over a piece of rock on
which the back reclines. Presumably Klytaemnestra, from a similar
sarcophagus to that given in Mus. Pio-Clein.,\. PI. 22; or one of
Niobe's daughters (cf. Stark, Niobe, PI. 4, in the middle of the lid ;
PL 19, i). L. 0-25. [*CJ/]

32 (99). Fragment of a child's sarcophagus. Remains
of a chariot race in the Circus contested by Cupids. The horses of
a chariot ; close to them an overturned chariot and a Cupid thrown
out on the ground. In the background two Corinthian columns
bearing an architrave with six ova. [il/]

33. End of a sarcophagus. A grifiin sits facing the 1., with
the claw of r. fore-leg on a ram's head. H. 0^42. L. 0-43. [*]

A large number of square cinerary urns with inscriptions
and merely decorative reliefs (<f.^. nos. 404, 410, 419, 421 — 426, 429,
460), as well as round vases with similar adornment, are not of
sufficient importance to be enumerated individually here.

34(1132). Fragment of a relief. Hermes, almost full face,
with the herald's staff in his 1. arm, grasps with his r. hand the
chlamys, which covers back and arm. Head and greater part of
r. leg missing. Rather pretty. H. abt. o-40- [*]

35 (1121). Large flat mask, intended for a fountain, or for
use in a vapour bath. The face is surrounded by wet, waving hair.
The eyes and mouth are perforated. H. 0-62. L. 0-65. [*]

36 (413). Relief, with flat frame. To the 1. an actor with
comic mask, in sleeved chiton and with cloak (shoes restored), sits
on an altar hung with gariands, on which the r. arm rests; the
1. hand lies in the lap. A fracture runs through the thigh, to the

LONDON, SOUTH KENSINGTON MUSEUM I. 48 1

r. of which it is all modern (a female figure with tragic mask speak-
ing to him). For the genuine piece cf the statues in Wicseler's
T/uakrgebaude, PI. 11, 8 — 11; V\. 12, 5. H. 0-33. L. 0-37, of
genuine piece 0'23. [*]

37 (24). Foot of a marble seat, consisting of a slab which is
finished off in front by a winged leg of a lion (head broken off), and
is further adorned all over with pretty sprays. On one side is a goat
in the middle of the ornamental work. [*]

Of the various painted vases, for the most part unimportant,
the finest is the following :

38. The " Cawdor vase," more celebrated than actually
known. Conze gives a description, p. 165; the front, the principal
scene of which relates to the sacrifice of Pelops and Oenomaos be-
fore the chariot race at Olympia, is engraved, though unsatisfactorily,
in the General Description, p. 5, and in Moses' Colleclion of antique

Vases, PI. 23. This large and rich vase, about o-8o high, found in
1790 near Lecce, was for a long time in the possession of the King
of Naples, was then purchased by General Oudinot, sent to England,
and sold there for 1000 guineas to Lord Cawdor; it then passed to
J. Edwards the bookseller in Pall Mall, and from him to Sir J. Soane
(Introd. §§ 54, 93).

39. Lastly, I must not leave unmentioned the chief pride of the
whole collection, the Egyptian sarcophagus of alabaster,
disinterred in 18 17 by Belzoni in the neighbourhood of Thebes. It
is covered inside and out with figure sculptures in very low relief
and is in excellent preservation. It is thought to be the coffin of
the father of Ramses II.

South Kensington Museum.

The Museum possesses no antique marbles of its own, but speci-
mens belonging to private persons are often exhibited here, and they
naturally vary from time to time (cf Conze, Arch. Anz., 1864, p. 167;
Huebner, ibid., 1866, p. 301. Michaelis, Arch. Zeit., 1874, p. 41).
In the autumn of 1877 the following works in marble were exhibited
by two owners :

I. Lent by George M*- Leay, Esq., for the time resident in India,
nos. I — 17, all derived from the west coast of Asia Minor.

I. Statue of a female, in long chiton, and over it the cloak,
which covers the head and the whole body as far as below the knees.
M. C. 3 1

482 LONDON, SOUTH KENSINGTON MUSEUM 2—12.

The treatment and fall of the folds resemble those in the terra-cotta
figure, Clarac, v. S90 B, 2267 F, only the cloak is not thrown back
over the 1. shoulder, but covers the 1. breast and thence falls down.
The lowered 1. arm is quite covered in the cloak, the upper part of
the r. arm is likewise lowered, the forearm is missing, as is also the
head. The figure rests on the r. leg, on the outside of the shin is a
square puntello which suggests an attribute (torch }) or some other
accessory. H. abt. i"7o. Cf. the remark on no. 2. [*]

2. Statue of a female, in doubled chiton and over it a cloak,
completely corresponding to four of the statues of the Loggia de'
Lanzi in Florence (Cavalieri, Antiq. stat. 1. 1, et II. PI. 81 ; cf. Clarac,
IV. 767, 1894; V. 978 B, 2524 F). She rests on the r. leg. Missing:
head, r. arm, 1. forearm with the folds of the drapery below it.
H. abt. 170. Both the statues, nos. i and 2, stand on low irregu-
larly shaped plinths. They are very slender in their proportions,
slim in the upper part of the body, becoming broader below, with
not quite common motives of drapery. Ordinary execution. They
are exact counterparts of the statues at Oxford, nos. i — 9 (cf.
Oxford, after no. 9). [*]

3. Group of Ganymedes and the eagle. The youth, nude
except for a Phrygian cap and boots, stands with 1. knee bent by a
pillar which is partly covered by his chlamys; the outstretched 1.
arm lies on the pillar; of the lowered r. arm with the pedum only
remnants are preserved. Ganymedes looks up at the eagle, which
sits above his 1. arm on the pillar (cf. Monitm. dell' Inst, 1856, PI.
18). The pose of Ganymedes is somewhat stiff and affected. The
whole group is backed with a pillar, and was therefore most probably
meant for architectural decoration (cf Cambridge, no. 4, Wilton, no.
144) ; the moderate execution falls in with this view. H. o"76. [*]

4. Statue of Pan. The god stands by a tree on which hangs
the syrinx. A leather apron full of fruit hangs slantwise from the r.
shoulder ; in the 1. arm he holds a pruning-knife (blade missing).
These attributes remind one of Silvanus. Head of unpleasantly
brutish expression. Goat's legs. Lowered r. arm and part of 1. leg
below the knee missing. Late, ordinary Roman work. H. i-oi. [*]

5 — 12. Eight heads, of bad, late workmanship, and rather
damaged ; from Smyrna, Rhodes, &c. The following may be parti-
cularly mentioned : 5, a head over life-size, perhaps of Zeus, though
of a gloomy aspect, which suggests Pluto rather than Zeus ; 6, a
head of Herakles with curly hair and beard ; 7, a pretty good
female head. [*]

i.oNnoN, SOUTH kexsixgtox museum 13—17. 483

13. Relief. On a field surrounded by a frame there sits
enthroned in the middle, Zeus, turned 1., his legs covered by his
cloak, the 1. hand high up on the sceptre, the r., perhaps with a cup,
on the thigh. To the 1. before him stands, very nearly in full face, a
noble female figure in chiton and cloak, with a long sceptre on her
r. arm, the 1. hand lowered; a high ornament on the head (modius?)
may designate her as Hera or Demeter, or again as the tutelary
goddess of a town. Behind the throne of Zeus stands Anubis,
with the head of a dog, draped in a chlamys. Very coarse and much
abraded. Below the relief a large empty space. H. 0-65. L. 0-36.
From Erythrae. [*]

14. Votive relief, flanked by two antae which carry an enta-
blature furnished with roofing tiles. On the 1. stands a youth in
chlamys beside a horse; before him, in about the middle of the relief,
stands a female figure, in chiton, the 1. arm and the lower part of
the body enveloped in cloak, offering the youth a cup. Both figures
are on a much larger scale than those at the r. end of the scene : a
male and two female figures, and in the foreground three children
(apparently two boys and a girl). These six persons approach in
adoration; before them a boy, quite small, leads a ram to the altar
which stands between the two principal personages. The relief is
moderately low and reminds us of Attic reliefs. H. 0-41. L. 0-56.
From Smyrna. [*]

15. Sepulchral stone of Sandioklos, broken into two frag-
ments. On the r. sits a female figure completely veiled (head missing).
In the background a tree, entwined by a snake. To the 1. stands
in full face the deceased, a bearded man, in cloak, the 1. hand
lowered, the r. before the breast ; for his somewhat self conscious
attitude cf Oxford, no. 89. By him a diminutive attendant, with
crossed legs, the head supported on the I. hand. Below, the inscrip-
tion, in characters indicating the Roman period : x^V^ SavStoKXe.
(For the name cf %av8iuiv, the SaVSios \64>o^ near Myus, Thuk. 3, 19,
Sai'Sojxr;? of Kyme, Her. 7, 194.) Rather high relief H. abt. o-6o.
L. 044. [*]

16. Fragment of a sepulchral relief, broken both at top
and bottom. On the 1. stands a youth, full face, almost nude, hold-
ing the chlamys on the r. shoulder with r. hand, the 1. lowered.
Beside him a nude boy, who turns up his face and r. hand to him ;
in the lowered 1. hand he holds the strigil (o-TXcyyt's) and the ala-
bastron. Lively execution. H. 0-32. L. 0-30. From Smyrna. [*J

17. Relief in a frame. A man in very short chiton and with

31—2

484 LONDON, SOUTH KENSINGTON MUSEUM iS, I9.

boots, flourishing a whip in his r. hand and holding out a cloth in his
1., advances against a tiger which springs at him from the r. Coarse
stone. H. o'5i. L. o'66. From the amphitheatre at Pergamon. [*]

II. Lent by the Hon. Ashley G. J. Ponsonby, nos. 18, 19.

18. Female head, called quite inappropriately "Juno Sospita,"
evidently the head mentioned above (London, De Mauley, no. i).
Engraved : Bophoclis Eledra, ed. O. Jahn, frontisp. ; better, Arch.
Zeit., 1880, Pi. 8 (Michaelis). This beautiful head of large, broad
forms is powerfully and yet softly treated. It is covered by a cloak or
cloth of very thick material, which forms soft folds over the forehead.
The wavy hair is simply brushed off the face and falls far down on
both sides ; a few tresses hang on the forehead, a larger one comes
forward from the ear far on to the 1. cheek. The hair is not very
much finished; where the drapery and the hair meet, the several
marks of the drill can still be seen in the hollow. The highly
tragic intensity of expression which pervades the features appears
much more striking if the head, in conformity with the pose of the
neck and the fall of the hair and drapery, is set up a little more in-
clined forward towards its own r. than it is now. New : tip of nose.
On the top and at the back the head presents level surfaces, which
are apparently part of the original surfaces of the block. A brown
coating grievously spoils this beautiful work, and makes it impossible
to determine the quality of the marble. In my opinion it is a good
reproduction of a distinguished original, belonging to the Hellenistic
epoch of art. The older interpretations as " mother of Hercules " or
as " Omphale " are little better than that of " Juno Sospita." The
common opinion now-a-days inclines to see a barbarian woman in the
head, though there are no particularities able to support this inter-
pretation ; if nevertheless it be right, the head would be of great
interest as representing an ante-Roman type of female barbarian.
I am rather inclined to recognise in the head the remains of a statue
of a mourning woman, which may have served as the decoration of
some sepulchral monument. The head is said to have been dis-
covered at Ostia ; casts made in Rome are common. The original,
after having passed through the hands of a Mr Jones and of Lord
de Mauley into the possession of the present owner, attracted well-
merited attention at the Manchester exhibition of 1857. H. o'3o.
L. of face 0-21. [*]

ig. Female head, colossal scale, called " Hera," but much
rather representing an Aphrodite. It is very decidedly inchned to

LONDON, STArFORI) HOUSE. 485

its own r. The wavy hair, which is brushed up on the 1. side and from
off the neck, once formed a topknot on the parting. Now, the
whole top of the head is missing on the 1. side, from the lower
margin of the hair and the car. Nose and lips restored. A poor
copy of an apparently good original, the details of which however
are quite lost in this version. Owing to the brown coating the
quality of the marble is unrecognisable. H. 0-42. L. of face o'27. [*]

St.\fkord House (St James' Palace Court).

Waagen, Treas., 11. p. 73 (11. p. 69).

In this town house of the Duke of Sutherland I found the
following anti(iucs :

1. Statuette of Lucius Papirius. He is draped with the
pallium, and holds the r. arm in the cloak before his breast, the 1. arm
being lowered, with a box (?) in the hand. The youthful head and
the r. hand seem to be modern ; however the dark corridor in which
the work stands does not permit a certain judgment on the point.
The same must be said as to the genuineness of the inscription on the
pedestal, Z. Papirius, which seemed to me free from suspicion (the
lower end of the semicircle of the P does not in either case come
up to the vertical stroke). However, the name L. Papirius is too
celebrated, and the youthful head suggests the young Papirius Prae-
textus (Gellius i, 23) too closely for it to be possible to absolve the
inscription from all suspicion. H. 0-94. [*]

2. Head of the bearded Dionysos, of very accurate hieratic
style, over life-size. This good head, on a modern draped bust, has
surely been originally part of a terminal figure. [* \V~\

3. Modern copy in bronze of the bust in J^iris of M. Modius
Asiaticus, cf. Oxford, no. 238. Wilton, no. 78. The copy seems
to be carefully executed. [* JF]

The servant assured me (in 1877) that there were no other
antiques in the house. Waagen saw there, among other antiijues,

4. " Bust of a young Hercules."

5. " Bas-relief of a woman walking, with a child on her arm;
before her an older child. Simple and pleasing in invention, and
delicately finished." This description seems to indicate a Greek
sepulchral relief.

For other antiquities in the possession of the Uukc of Sutherland
cf Dunrobin Castle ; Trentham Hall.

486 LONDON, LORD WEMYSS, WESTMACOTT.

Lord Wemyss (Stratford Place).

The Earl of Weymss is, as Doran states {" Afaiui" and
manners at the Court of Florence, I. p. 220), the present owner of the
celebrated eagle, which during a century adorned the gallery of
Strawberry Hill (Introd. § 41, Dallaway, Atiecd., pp. 293, 384). The
eagle had been dug up in the garden of Boccapadugli, near the Baths
of Caracalla (in 1742, according to Dallaway), a short time before
Cardinal Albani introduced it to the notice of Mr Chute, a friend
of Horace Mann's, the British minister in Florence. Through the
mediation of Horace Mann, Mr Chute induced Mann's friend,
Horace Walpole, to purchase the eagle together with its pedestal,
a marble cippus with an inscription, for 100 zecchini {;£^o), in the
summer of 1745 (cf Doran, /. cit.). How much Walpole admired
the " glorious fowl " when it arrived in England two years later, is
evident from several passages of his letters to Mann, e.g. in the
letter of June 26, 1747 : "There never was so much spirit and fire
preserved, with so much labour and finishing." Unfortunately, " the
lower part of the beak had been broken off' and lost " (letter of July
28, 1747). At the sale at Strawberry Hill in 1842, this marble was
sold for ;£2io, as is stated in an annotated copy, to Lord Leicester;
but this, according to a statement of Lord Leicester himself, is an
error. Doran mentions Earl Fitzwilliam as the next owner, and says
that he bought it at a far higher price; from this nobleman "the
grand weird-looking bird" came into the possession of Lord Wemyss.
I am unfortunately not in a position to give an accurate description of
this interesting antique, as I have neither seen the original nor a
print which Walpole mentions in a letter to Mann (Dec. 5, 1760).

The late Sir Richard Westiiacott.

At the residence of Westmacott, the sculptor, Count Clarac,
in the year 1833, found a number of marbles vnih. regard to the
actual whereabouts of which I have no information to give. Clarac
has published the following statues or statuettes, apparently for the
most part rather seriously restored.

I. Statuette of Serapis, restored as Zeus. Clarac, in.
410 A, 669 B.

LONDON, LORD VARUOKOUGIL LOWTHER CASTLK. 487

2. Melpomene, setting the r. foot high on a rock. Clarac,
III. 506 ]?, 1045 A.

3. Statuette of a drunken Satyr, with nchris, in a rather
strained attitude. Clarac, iv. 710 A, 1708 A.

4. Group of three nude boys, lying pressed close to each
other on the ground. Clarac, v. 875, 2236 C. Antique?

5. Small girl in girdled chiton holding a little bird in the 1.
hand (antique?). Clarac, v. 878, 2236 J).

6. Statue of "Marcus Aurelius, when young." A
youth in chlamys, by him a dog. Clarac, v. 950, 2445 C.

In the Spedme7is of Antient Sculpture, 11. PI. 48, is given and
ascribed to the same ownership :

7. Bronze Statuette of Athene, with chiton and cloak, so-
called Corinthian helmet and aegis, both forearms advanced. The
eyes of inlaid silver.

Lord Yarborough.

In Lord Yarborough's town house, 17, Arlington Street, may
presumably be preserved those specimens of the Worsley collection
which are not to be found in Brocklesby Park ; cf. Brocklesby, nos.

LOWTHER CASTLE (Westmoreland).

Ancient Sculpture at Lowther Castle. Penrith. (Short notices
with sundry statements about the acquisition.) Matz, Arch. Zeit.,
1873, pp. 27 ff. Michaelis, ibid., 1874, pp. 41 ff. I visited the
collection in the year 1873.

The collection, which is exhibited in the beautifully situated and
very fine Castle, three miles south of Penrith (Cumberland), was
formed by WilliaiM, second Earl of Lonsdale (family name
Lowther), beginning about 1848, and seems to have received no
additions since the founder's death (1868), cf. Introd. § 96. The
materials were furnished principally by the sales of the Bessborough
Collection, the Duke of Buckingham's (Stowe) Collection, the Marquis
of Hertford's, &c. Thus it was possible, though so late as the year
1850 Waagen {I'reas., in. pp. 260 ff.) mentions no antiques in Lowther
Castle, to form the considerable collection which worthily fills two
well-lighted galleries, specially erected in 1S66 for this purpose by

488 LOWTHER CASTLE I.

the architect, Mr Mawson, which project towards the park on the
south side of the Castle. The incompleteness of my own notes and
of those by Matz, together with the laconic brevity of the cata-
logue, are the reasons why I have not been able to give a fuller
description, though I can scarcely have passed over anything of
consequence. In the case of the specimens which are noticed
merely on the authority of the catalogue I naturally cannot offer
any guarantee for their genuineness or for the correctness of their
nomenclature. Unfortunately I had not the leisure to inspect
the book mentioned by Matz, with photographs and notices on
the acquisition of the several specimens. I have consulted the sale
catalogue of the Stowe Collection (by Henry Rumsey Forster,
London, 1848); that of the Bessborough Collection {]u\y, 1850)
proved too poor to be of any use.

EAST GALLERY.

I. Statue of the Knidian Aphrodite. Among the many
copies of this celebrated masterpiece (cf. Bernoulli, Aphrodite,
p. 206. Michaelis, Arch. Zeit., 1876, pp. 145 ff.), this example
most nearly resembles the beautiful statue in Munich (no. 131.
Liitzow, M'unchn. Antiken, PI. 41. Clarac, iv. 618, izil)- As in
that case, so here, the goddess lifts up the drapery from the vase,
while other copies let it fall down thereon, as certainly did the
original by Praxiteles ; the pose of the head too seems to have
originally corresponded, although the re-set and clearly modern head
is rather more decidedly raised than that of the Munich statue.
The figure is extraordinarily broad in the region of the hips, flatter
in the breast. New : head and neck, r. arm entirely, 1. almost en-
tirely including the armlet, the legs from below the knee; toes
and portions of the pedestal seem old. The antique parts of the
body are of beautiful Thasian marble slightly tinged with yellow;
the drapery, on the other hand, which is very much worked over,
together with the vase, similarly worked over, are of Pentelic.
These parts, separately let into the pedestal, appear to belong to
another copy, and are joined to the torso, presumably under
Hamilton's direction, by an iron rivet, which fastens the drapery to
the hip. A marble puntdlo left rather further back on the hip,
the prolongation of which would not meet the present drapery,
proves that the drapery was originally held somewhat further back,
and perhaps also a little further from the body ; now, in fact, it too

LOWTHER CASTLE 2, 3. 489

much veils, from the principal point of view, the beautiful movement
of the outlines of the body. This is not the case in the other copies.
Good Roman work, equally finished in all parts. H. 1-96. From the
Stowe Collection {Catal., p. 269, no. 91), bought for 13 guineas.
" The statue was found at Rome under a church now added to
St Peter's [probably in 1776, when the churches oi Satita Maria dcHa
febbre and Santo Stefano degli Uiigari were destroyed in order to make
way for the present Sacristy]. Bought by Mr George Grenville from
Gavin Hamilton for Stowe, and restored like the Venus of Cnidus"
(G. Scharf). [*J/]

2. Torso ofVenus, from the Marquis of Hertford's collection.

3. Statue of Artemis. Cavaceppi, Race, 1. PI. 5. Clarac,
IV. 599, 131 1. The goddess wears a long chiton with an over-fold
which is doubly girdled, once by a flat band close under the breast,
then low down round the hips. The drapery has slipped down from
the r. shoulder and leaves part of the bosom bare. On the 1.
shoulder lies a small cloak, which falls down over the arm. The
figure rests on the r. leg, the 1., which is a little bent, treads on a
quiver which lies on the ground, a bow lying by it (certainly
antique). Through this adjunct we may interpret the motive. It
might be imagined that the head was originally a little lowered,
the glance perhaps directed in calm admiration on the sleeping
Endymion, just as the same conjecture has been made with respect
to the Artemis of the Vatican {Braca'o niiovo, no. 50. Miis. Chiaram.,
II. PI. 7. Clarac, iv. 577, 1244. 'Bva.un, Zti'olf Basnliefs, p. 12),
which statue is unquestionably of far greater beauty and of more
animated movement. The facts that the weapons have been let fall
and that the bosom is exposed accord well with this idea. The
very beautiful, but much rubbed head, in the character of a Muse,
does not belong to the statue, as is proved by the material, which is
Parian marble. New : nose and chin, neck, r. arm from the elbow
downwards, 1. forearm with elbow, and the part of the cloak which
hangs down. Thasian marble. H. 1-90. The statue is derived
from the Spada Palace (Winckelmann, Kimstgesch., v. 2, 6 ; vi. 1,22.
Moil. Itied., I. p. 37, "Venus"; cf. Bernoulli, Aphrodite, p. 104).
It came through Cavaceppi's hands to Petworth, where Dallaway
enumerated it (p. 279, no. 6 [11. p. 14]); in this century, however,
no one has seen it there. It appears accordingly to have passed
from Lord Egremont to the Duke of Buckingham (cf. Petworth,
introduction), and then from Stowe {Calal., p. 269, no. 92) to
Lowther for the sum of 1 7 guineas. [* J/]

490 I.OVVTHER CASTLE 4— 1 3.

4. Statue of " Hygieia." This very interesting statue, rest-
ing on the 1. leg, wears a fine close-fitting chiton, which is girdled
very low down on the hips. The cloak goes slantwise on the 1.
shoulder, laid behind the back as far as the middle of the r. thigh,
and is then thrown over the 1. forearm. The expression of the face
is amiable, the hair in maidenly fashion tied together on the crown,
while tresses fall down. on the shoulders. A snake, of which the
greater part is antique, curls itself round the lowered r. arm. An
uncommon feature in representations of Hygieia is offered in the
winged boy sitting on her 1. arm, whose legs (exclusive of the 1. foot),
nates, and the lower part of the stomach, as also the under part of
his r. wing, are antique. The boy is undoubtedly Eros, who appears
in company with Hygieia on the famous ivory diptych in Liverpool
(p. 428; Miiller-Wieseler, 11. 61, 792 b). New: the other parts of
the boy; of the female figure the 1. hand from the drapery, wth the
cup; the head, though broken at the neck, belongs to the statue.
Parian marble. Moderate workmanship. H. 1-52. From the Bess-
borough Collection. [*M]

5. Statuette of Euterpe, from Fould's sale at Paris.

6. Statuette of Flora.

7. Statue of Ares, colossal scale, according to Matz perhaps
a sMua Achillea. The figure is nude except for the cloak, which falls
down far behind from the r. shoulder. On the 1. arm rests the sword
in its sheath, by the r. leg is a marble support covered with a leathern
corslet. New : head and neck, r. arm which is raised up sideways,
trifling portions of the 1. arm. [*J/]

8. Figure of Pan, standing upon an altar.

9. Bronze Statue of Hercules.

10. Fragment of a group : on some stones rests a cauldron,
from which there protrudes the carcase of a boar; a hand is still to be
seen on the rim of the cauldron. Replica of a well-known group
in Naples (Clarac, iv. 742, 1786). H. 0-46. [*J/]

11. Julius Caesar, sitting in a consular chair. From the
Bessborough Collection.

12. Statue of Augustus. The figure is nude, and heroically
treated, the cloak only falling down from the 1. shoulder over the
lowered 1. arm. The head belongs to the statue. New: almost
the whole r. arm, 1. hand, lower parts of both legs, much unim-
portant detail. A good statue, over life size. Thasian marble. From
the Stowe collection {Catal., p. 265, no. 29). Bought for ^^22. ij-. [*]

13. Statue of an Emperor, restored as M. Aurelius.

l.UWTIIER CASTLE 14 — 29. 49I

Antique : only the torso, with corslet (of which the front and back are
decorated with Nereids on sea-horses, who bear the arms of Achilles ;
the one carries a helmet, the second a greave, the third a shield) for
the most part covered by the paludamentum. Colossal scale. Found
in the Villa of Alexander Severus, near the Via Ostiensis. From the
Stowe Collection {Cafal., p. 264, no. 19), bought for ^^38. 17^. [*M]

14. Statue of a Roman in the toga. Bought for jQ2 1 from
the Stowe Collection {CataL, p. 47, no. 742, "A Roman Senator,
found in Herculaneum"). H. abt. i'5o.

15. A seated female figure. The motive is similar to that
of the "I'enelope" of the Vatican (Clarac, v. 834, 2090. Miillcr-
Wieseler, i. 9, 35) or the Oxford "Clio" (Oxford, no. 32). The
head rests on the r. arm, the elbow of which is supported on the r.
leg which is crossed over the 1. ; the 1. foot stands on a stool. The
1. arm is supported on the fringed cushion of a chair with twisted
legs. Chiton and cloak as on the statues just mentioned. New :
r. foot The elegant head, which is that of a maiden, and is
carved in Thasian marble, does not belong to the statue, which is of
Pentelic. Ordinary Roman work. H. i-i6. Bought for ^^47. ^s.
from the Stowe Collection {CataL, p. 264, no. 18, "Agrippina as
the Muse of History"). This and similar figures are probably
sepulchral monuments, a statue in place of the usual relief; cf.
Conze, Arch. A/12., 1867, p. 94*, no. 704. [*J/]

16. Female figure.

17. Draped female figure.

Thirty-one busts are enumerated by the Catalogue in this part of
the gallery, but the notices are generally so short that nothing is to
be learnt from them. Among them the following names occur :

18. Plato,

ig. M. Pompeius,

20. Matidia, colossal scale, all three from the Bessborough
Collection.

21. M. Aurelius, from the Stowe Collection.

22. C. Caesar,

23. Agrippina,

24. Faustina, all three from the collection of the Marquis of
Hertford.

25. Janus.

26. Sulla.

27. Cato, probably.

28. 29. Jul, Caesar.

'492 LOWTHER CASTLE 30 — 42.

Livia.

31. Nero, as a youth.

32. Galba.

33. Vitellius.

34. Trajan.

35. Seneca.

36. Corbulo.

Among the reliefs by far the foremost place is occupied by the
pearl of the whole collection, which is the following :

37. Fragment of an Attic sepulchral stele, large size, of
choice Pentelic marble, from Acharnae, of the fourth century b. c.
Fr. North, afterwards Earl of Guilford, found the stele, and brought it
to England. The engraving by Stackelberg (Grdber der HeUenoi,
PI. I, 3. Schnaase, Gesch. d. bild. Kilnste, 11. 2 ed., p. 224), in its
feeble polish, gives but a weak idea of the abundant power and
animation of the original, the peculiar Attic grace of which, met with
as it is in the far north, close to the borders of Scotland, exercises a
double charm. With inclined head, a slight touch of melancholy in
the features, sits the deceased, a female figure, her head and body
quite enveloped in the wide drapery, the r. hand near the chin, while
the r. elbow rests on the lap. Two fillets run through the curly
hair; two holes below the ear prove the original presence of a
metal ornament. In the flow of the lines, the delicate treatment of
the drapery, and the tenderness of the expression, the figure, which is
over life size, ranks with the best of its kind. A Sphinx supports the
arm of the high-backed chair, which is furnished with a cushion.
Missing : legs from over the knee. New : nose, the two last fingers
of the r. hand, details of the edges of the drapery, neck and edge of
wing on the sphinx, which is restored as a griffin. Very full relief
H. I'ig. L. o'dg. An engraving of the fragment, from successful
photographs, will appear in the collection of Greek sepulchral reliefs
which is to be published by the Vienna Academy. [*-!'/]

38. Sculptured marble tablet, in frame, brought from Athens

1763-

39. Medallion head of Homer, in carved frame. Bess-
borough Collection.

40. Head surrounded by a garland. Bessborough Collection.

41. 42. Two Roman sepulchral reliefs, which form a pair,
each framed by two pilasters surmounted by an arch adorned with
medallions. On the one there stands a female figure, full face, com-
pletely enveloped in her cloak, which even covers her head ; the 1.

LOWTHER CASTLE 43—45. 493

arm is lowered, the r. hand holds a corner of the cloak near the I.
shoulder. (For the motive compare e.g. the daughters of Balbus,
Mits. Borb., II. PI. 41, 42. Clarac, v. 921, 2349. 923, 2349 C.)
On the other relief, the arch of which is decorated with a garland,
stands a female figure, whose high-towering head-dress seems to
belong to Trajan's time ; her attitude, representing Venus, is not rare
on gems and coins (Bernoulli, Aphrodite, pp. 184 IT.). Almost nude,
with a cloak thrown round the thighs, she supports herself with the 1.
arm on a pillar. In the 1. hand she holds a palm branch ; the r. arm
is half raised. By the r. foot a dove. Both reliefs were already
known in Rome in the middle of the i6th century; cf. Cod.
Coburg., no. 99, Matz = Cod. Pigh., no. 115, Jahn. Ihey came to
Lowther from the Bessborough Collection. [*iJ/']

43. Child's sarcophagus. Cupids hunting. On the front
a bear throttling a horse, next to them an ibex ; a Cupid with two
dogs about to transfix a boar ; next another ibex ; a Cupid with four
dogs chasing a stag. At each end a tree. — R. side : two panthers
mangling an ox.— L. side : a panther throttling a horse. Very much
re-worked. L. i'20. H. o'26. Bought from the Stowe Collection
{Catai, p. 45, no. 722) for^i6. bs. [*J/]

44. Oval child's sarcophagus. Condamatio. On the 1. a
griffin. Then an old man seated, by him a female figure standing
with a raised MS. roll. On the r. of a doorway stands a female
figure weeping and leaning on an arm-chair in which sits a man, com-
pletely enveloped in draper}-. Next a lectus with a beardless man in
tunic and pallium lying on it ; behind, the heads and hands of
two wailing professional mourners {J>raeficae) are visible. At the head
end of the bed sits a shrouded female figure behind whose chair
two more mourners are seen. Then the remains of the arch of a
doorway, and a modern female figure seated. Bad work. L. i '00.
H. o'22. Discovered by the Marquis of Chandos on the Via Appia,
near the tomb of Caecilia Metella, in 181 7; bought from the Stowe
Collection (Catal., p. 48, no. 748) for £,\i>. 55. dd. [*il/]

45. Child's sarcophagus. Cupids racing. Front : four
bigae with a Cupid as driver and another Cupid on horseback near
each chariot race towards the r. The foremost Cupid holds the
wreath of victory, the second falls down head over heels, as one of
his horses rears ; below the first and fourth chariot a Cupid lies on
the ground. In the background are descried the spina of the Circus,
with four ova, one obelisk, two dolphins, two metae. — Sides : on
each a Cupid on horseback, that on the 1. side with a wreath. — Lin,

494 LOWTHER CASTLE 46— 50.

from 1. to r. : four empty chariots; four boys hurrying with sacks on
their backs and goads in their r. hands ; four boys full face, the
first three with wreath and palm-branch, the fourth with palm-branch,
holding a horse by the bridle ; three boys with staves breaking-in
wild horses. L. i*2o. H. ©•35. [-Af] Either this or the next
sarcophagus is derived from the Stowe Collection, but is not to be
found in the Catalogue.

46. Front of a child's sarcophagus. Cupids racing. Four
bigae, with drivers and companions on horseback, answering to those
on no. 45 ; the foremost has no wreath ; Cupids lie on the ground
below the first, the last but one and the last chariots ; a Cupid is
helping to raise up again the horses of the second chariot which
have fallen. On the spina there are visible two pointed columns,
a building with four columns and a pyramidal roof, fourteen dolphins,
seven ova, a Victory with a wreath, another building with four
columns, and another pointed column. L. 1-35. H. 0-30. [AI]
Cf. on no. 45.

47. Front of a child's sarcophagus. Four Cupids on
chariots, which are respectively drawn, in the following order, by
panthers, roebucks (?), dogs, roebucks. L. 0-91. H. 0-20. [J/]

48. Front of the lid of a sarcophagus. Boys in the
palaestra. The 1. end is broken off. The first boy is bending for-
ward and holds in his hands a thick stick, probably the handle of
a hoe with which he turns up the earth. Then comes a boy with
jumping weights (aAnJpes), at the moment of springing off the
ground ; then a boy running with a shield on his 1. arm ; after him
three runners, each with one arm stretched fonvard. The following
double inscription : T. Aelio Maximo and lun. Aelia Riifina /.,
indicates the middle of the relief ; the lost r. half may be presumed
to have contained either the rest of the Greek exercises, or, possibly,
those of boxing and of wrestling, which, together with running,
enjoyed the greatest favour with the Romans. [*J/]

49. Front of a sarcophagus. Two Victories and two
Cupids (one with his feet on a sea-ox, the other on a hippocampus)
bear a garland ; in the semicircular fields which it frames a Medusa's
head and two tragic masks are introduced as symbols to avert evil
(airorpoTrata). Below the middle of the three fields the upper part of
the body of a Cupid with outspread arms, in a wreath. Below, a
richly ornamented zoccolo. L. 2'20. H. i'27. Probably from
the Bessborough Collection. [M'\

50. In the catalogue there are enumerated besides, five marble

r.OWTllKR CASTLE 5 I — 53. 495

sepulchral urns from the Ilcssborough Collection, one of them
with a cover.

51. Sun dial.

PASSAGE LEADING FROM THE EAST GALLERY TO THE
BILLIARD ROOM.

The walls of this narrow passage are covered with inscribed
stones and sundry sculptures, which give it the character of a galkria
lapidaria. The most important specimens are seven Greek sepulchral
reliefs, though without exception of later style, probably all derived
from Smyrna, and, to all appearance, all bought from the Bess-
borough Collection.

52. Stele of Posideos and Herophanta, from Smyrna,
superficially sketched in P. Lucas' Voyage an Laant, i. p. 152. In the
field of the pediment a shield. On the stele itself in a field stands
to the 1. a beardless man (Posideos), quite covered in his cloak, the
hands joined before the body; by his r. leg a diminutive attendant, in
short chiton, with an ewer in his lowered r. hand. To the r. stands
a veiled female (Herophanta), in cloak and chiton, holding in the
r. arm a large torch which occupies the middle of the scene. Her
cloak shows the folds impressed on the fabric by its having been
laid up a long while, a peculiarity which recurs, for example, in
the Artemisia of the Mausoleum, the so-called Juno Cesi in the
Capitol, etc. By the torch a diminutive female attendant. Below the
relief are the names of the two persons, in the accusative : Tiom^tov \
Ar]iJLOK\dovs and 'HpocfxivTav | Ti/xwvo's ; the accusatives depend on
the twice repeated inscription 6 S^/xos above the relief, in each case
enclosed in a wreath, by the conferring of which the community has
honoured the two personages {C. I. Gr., 3245). Good, careful
style of the third or second century B.C. H. 1-52. [*]

53, Stele of Theudotos, badly engraved in Tollius, Episl.
iiinerar., p. 20. Two pilasters which carry a straight architrave flank
the field of the relief. On the r. sits a young man (Theudotos) in
chiton and cloak, the 1. hand in his lap, the r. raised as though he
were accompanying his speech by gesture. On the 1., opposite to
him, sits a female figure, in chiton and cloak, which last envelopes
her entirely, even her head. Leaning against her knee before her
stands a boy in a short chiton, with a roll in his hands from which
he seems to be reading. Below the relief an epigram of eight lines
of rather inelegant style, the interpretation of which has evoked

49^ LOWTHER CASTLE 54—56.

a whole literature (C. I. Gr., 3328, quite correctly, cf. Kaibel, Ej>ior.
Graeca, no. 240):

"HXuSes oiiK d^oaros ivl Tpiffcrats SeKaSecra-ui,

QcuSoT€, rdv ^u)ots oXfxov drpeiXofxivav ^
Koi ak Tov iv cirovSaiai. ycyaBoTa ttouXi) )i(t' cuttuv

fiaTTjp atalyi /ivpoiiiva vpvravLv.
■wirpos oSe ^eLvoitn ^oaaerac, (is diSaXos

daipaXh dvdpujirois ovdh eveifxe Tu;^a.
(tr)! Toi avpi. iraTpl KcX'^P/J-^m, &tpp' av is alu

ZwtrrpaTos ev tpdifiii^ots fivpiof ahof ixV'

(L. 8 : EXH, not EXHI.) Style of relief careful but dry. Grayish
marble. H. 0-47. The stelfe was formerly in the possession of G.
Ulenbroek, then of the learned Dorville, both in Leyden. [*]

54. Stele of Apollonios and Artemo. In the pediment
a cup. Below, two wreaths and between them the inscription IIovTnyia
Xpva-apiJov ^wcra to i).vy]\fJ.y]ov Im-qa-ev ; below the wreath on the 1.
'AttoXXiuVios I M.rivo<^l.Xov, below that on the r. 'Apre/iovs | 'AiroXXwvtov.
These are demonstrably Smyrnaean names (Arch. Zeit., 1874, p. 43).
In the field Apollonios stands on the 1. in chiton and cloak, Artemo
on the r., veiled, both full face, quite like the figures on the reliefs at
Oxford, nos. 89, 205. Artemo's 1. forearm was originally put on
separately, but has been lost. She has a diminutive female attendant
on each side of her, of whom the one on the r. carries a large box;
on the extreme 1. a diminutive male attendant leans against the edge
of the field of the relief. In the background a wall, which is
finished at the top in a projecting listel at the height of the
shoulders of the principal personages. Rather good style, probably
of the second or first century b.c. H. 0-98. [*]

55. Stele of Menekrates and Bias. Below the pediment,
between two pilasters in the field a comparatively old beardless man
(Menekrates) lies on a bed, completely draped, holding a cup in
the 1. hand and extending the r. hand to the youthful Bias, who
wears only a cloak, and who seems to wish to withdraw. Before the
bed a table with three feet on which food is set. At the head of
Menekrates in the background a young attendant. Below the relief
the inscription MeveKpari;? Buh/tos. | Bias MevtKpaVoi'. Rather rough
execution. H. 0-53. [*]

56. Stele. On the 1. sits a completely draped man, with his
feet on a stool, holding out his r. hand to a standing female figure
in chiton and cloak. To the I. by the stool stands a diminutive
attendant, to the r. a female attendant leaning against a pillar, on

I.OWniKR CASTI.K 5/ — Gj. 497

which stands a basket. Ordinary work. The upper IiaU" of the
stelfe is missing. H. o'48. [*]

57. Stele, broken away at the top. A completely draped, beard-
less man, with a roll in his lowered 1. hand, stands in the middle, full
face. To his r. stands a diminutive attendant leaning against the
edge of the field, to the 1. a nude little boy sits on the ground,
stretching up his arms. Rather careful execution. H. o-6o. [*]

58. Square sepulchral relief, of a coarse stone, lamentably
corroded. Two figures lie on a couch at a table, of which the one
holds out his hand to a female figure sitting at the foot end of the
couch. Before the couch stands a three-legged table. H. 0-52. [*]

59. Five more sepulchral reliefs with Latin inscrip-
tions, from the Bessborough Collection.

60. Eight sepulchral urns, five from the Bessborough Col-
lection, one from Lord North wick's, one from Barnes', one from
Fould's sales in Paris (Q. Gelliiis Chrcsttis, &c.).

61. One hundred and twenty-three Roman sepulchral
inscriptions, from the Bessborough Collection. All the Latin
inscriptions have been copied by ^Latz and myself for the Corpus
Inscriptionum Latinaruni.

In the last section of the passage are displayed native an-
tiques from various localities in the north of England ; cf also
C. I. Lat., VII. pp. 77 flf.

WEST GALLERY.

62. Statue of Dionysos, similar to the Vatican statue,
Clarac, iv. 681, 1595. New: r. forearm and three-quarters of 1.
arm. The head, from which long curls fall down, is inclined towards
the r. shoulder ; from the 1. shoulder there hangs down a piece of
drapery, another end of which, drawn slantwise across the back, falls
down from the r. elbow to the ground. On his feet the god wears
high laced boots (t'l'Spo^t'Ses). The 1. arm is raised, the hand was
originally grasping a thyrsos. Ordinary Roman work. H. i'44.

63. Group of Dionysos and Pan. The god leans with
his 1. hip against the stem of a tree, the 1. leg crossed over the r. In
the r. arm a piece of the thyrsos is preserved, the 1. forearm rests on
the shoulder of an ithyphallic Pan, not particularly youthful, modelled
on a considerably smaller scale as a subsidiary figure. He is bending
forward the upper part of his body and looking up at the god, whose

M. C. 32

49^ l.OWTHER CASTLE 64—68.

back he embraces as though he wished to pull him along with him.
Thasian marble. H. 1-25. [*Af'\

64. Statue of Asklepios, from Lord Anson's Shugborough
Collection. The god stands on his r. leg, with his r. arm akimbo
and his 1. arm-pit pressed heavily on the snake-entwined staff
Unimportant work. H. i'5o. [*il/]

65. Statue of Paris, from the Shugborough Collection.
Probably identical with the " Adonis " named by Dallaway, p. 385
(II. p. 137).

65. Figure of Eros as god of sleep, winged. He lies sleep-
ing on his back with crossed legs, at full length on his chlamys.
The head rests on one arm ; with the other hand he holds some
poppy heads ; by him lies his bow, at his feet crawls a lizard. In
front the inscription Herculi sanclo \ Eutychianiis. From the Bess-
borough Collection. [*J/]

67. Figure of Eros, similar to the last, with the attributes of
Herakles, lying on a lion's skin, the 1. hand on the club, by which a
lizard is visible. From the Bessborough Collection. [*.A/"]

68. Female portrait statue. i)/(??z. J/a///;., i. PI. 23, "Cybele."
Clarac, iii. 396 A, 664 E. On a throne sits the richly draped lady,
in whose features, as Matz rightly observes, one can recognise a
portrait, perhaps of the first century a. d. (pupils not expressed). She
unites the attributes of different matronly goddesses of high rank ;
the mural crown under the veil and the lion by her r. leg suggest
Rhea or Kybelb, a bunch of ears of corn and poppies in the r.
hand Ceres, the large cornucopiae (with pineapple, apples, poppies,
ears of corn, grapes) by the 1. leg and the upright steering paddle
on the blade of which the 1. hand rests, Fortuna. So was Livia
(JuHa Augusta) deified as Juno, Vesta, Ceres, Diana, Isis, &c. (cf
Eckhel, Dodr. Niimm., vi. p. 155 ; Letronne, Inscr. de VEgypte, i. p.
230). Only a closer examination of the features than I was able to
undertake can determine whether perchance the likeness of this
Empress is to be recognised in the present statue. Armlets adorn
the exposed r. arm, bracelets both wrists. A high narrow puntello,
which rises from the cornucopiae, serves to secure the fingers of the
1. hand. The preservation is wonderful. Only the lower end of the
cornucopiae is restored. Thasian marble. Rather coarse Roman
work. H. I '50. Formerly in the Mattel Collection, then in Gavin
Hamilton's hands, sold by him to the first Marquis of Buckingham,
and bought from the Stowe Collection {Cat, p. 264, no. 21) for
Lowther for^3i. los. [*Af]

ia>\vtiii:r castle 69 — 99. 499

69 —93- J he catalogue enumerates 22 busts, among them a
series of busts of the Caesars, which at once rouses suspicion by
its completeness. 69. Julius Caesar, 70. Augustus, 71. Tiberius, 72.
Caligula (from the Marquis of Hertford's Collection), 73. Claudius,
74. Nero (Hertford Collection), 75, 76. Galba, 77. Otho, 79, 80.
Vespasian (one of these busts, once the property of the Right Hon.
Edmund Burke, stood in his library), 90. Titus (Hertford Collection),
91. Domitian (Hertford Collection), 92. Nerva (Hertford Collection),
93. Geta. One of the other busts, placed in 1873 near the entrance
to the garden, is a fine, exceedingly well preserved portrait of a
beardless Roman, not unlike Cicero (cf. London, Apsley House,
no. i), but of a nobler and firmer countenance.

The catalogue gives besides the following miraculous item :

94. "The Olympian Meta, brought from Greece by the
Emperor Nero, and placed in the Circus at Rome. It was purchased
for a large sum by the Marquis of Hertford."

95. Four sepulchral urns, three from the Bessborough
Collection, one with reclining figure. Probably among these are
comprised the two following specimens :

96. Etruscan urn, of alabaster (?), with particularly well
presen-ed remains of colouring. Battle-scene, grouped round a
warrior who has sunk down on to his knee. A friend tries to make
him rise from the ground, but is himself menaced by the conqueror ;
on either side a warrior hastens up to succour the respective corn-
batants. Lid. Reclining female figure, draped, with a leaf-shaped
fan in her r. hand. Below her the remains of an Etruscan inscrip-
tion. [Af]

97. Etruscan urn, of alabaster. At the 1. end remains of a
female figure with torch. Then a quadriga, on which there stand
besides the driver two men in long drapery, the one with a shield,
the other with a helmet, and a girl. A servant with a hatchet leads
the horses. From the r. two men in long drapery advance to meet
them, the one with a hood, the other, who is bearded, with a small
round shield. Lid. Reclining figure of a man, very short, with
diptychon and apple. [M]

P.ASSAGF. LEADING TO THE WEST GALLERV.

Here the catalogue mentions, presumably all as antique — •

98. Statuette of Hercules.

99. Bust of Epaminondas.

32—2

500 I.OWTHER CASTLE lOO— IIO. MARGURV HALL.

100. Bust of Otho.

loi, 102. Two antique Sarcophagi (cf. nos. 43 — 49, 96,
97).

BATH ROOM AND PASSAGE TO CONSERVATORY.

103. Statue of Cicero.

104. Statue of Aristides.

105. Draped female statuette, name unknown.

106. Five busts, four male, one female.

From the Catalogue of the Stowe Collection I add moreover the
following specimens bought by Lord Lonsdale at the sale there,
which I am unable to identify with definite numbers of the Lowther
Collection.

107. "An oval cistern, of grey marble, with lions' heads
and grapes." Bought for;^3o. 9^-. {Cat., p. 269, no. 89.)

108. " A Roman marble sarcophagus, inscribed D. M. G.
Messis qui vixit annis XVII mesis I I II. Found by the late Duke of
Buckingham in an excavation made by him at Rome, in 1828, near
the tomb of Caecilia Metella. It then contained the skeleton of the
Roman youth whose name it bears. It recently stood in the flower-
garden at Stowe, and in it were deposited the remains of the late
Duke's favourite dog, who died of extreme old age in 1837." Bought
{ox jr^%. [Cat., p. 271, no. 115.)

• 109. "Three marble busts." Bought for £t.\. (Cat., p.
271, no. 124.) Probably a Roman sepulchral monument.

no. "A male and female marble bust." Bought for
;^i. 15^. {Cat., p. 272, no. 137.) See on no. 109.

MARBURY H.A.LL (Cheshire).

Dallaway, pp. 354 ff. (11. pp. 103 ff.). A Catalogue of Paintings,
Statues, Busts, etc., at Marbu7-y Hall, London, 18 14, and Warring-
ton, 1 819 (privately printed; only a short indication of the articles).
Spiker, i. pp. 407 I. Clarac, m. p. 22 note 2. Waagen, Treas., iv.
pp. 406 ff. Conze, Arch. Anz., 1864, pp. 223 f 235 if. Michaelis,
Arch. Zeit, 1874, pp. 43 ff. I visited the collection in the year 1873.

This house, the country seat of the Irish family of Smith Barry,
is situated near Northwich. The collection of antiques was made in
Rome, with the assistance of Gavin Hamilton and Jenkins, by the

MARBURY HALL I, 2. 501

Hon. J. Smith Barry, about 1776, as in a letter to Lord Shelburne
of July 13, 1776, Hamilton mentions "Mr Barry" as having lately
returned to England {Aauieniy, Aug. 31, 1878, p. 220). Several of
the principal pieces were got from the Villa Mattel and the Villa
d'Este at Tivoli. Unfortunately the statues and busts are very un-
favourably disposed in the dark Sculpture Gallery, which is more
like a cellar. Two colossal statues (nos. 2 and 17) which formerly
stood in two niches in the Entrance Hall, have been placed in the
court, a few smaller pieces (nos. 8, 11, 14) in the saloon. Others
are secluded in other rooms, to which I had not access. The
printed catalogue enumerates 21 statues, 19 busts (several modern),
10 "stone vases" (several modern, others without sculpture), 6
relievos, and 9 "altars," i.e. cinerary urns, &c. The statues are one
and all engraved in Clarac, so I give his order in numbering.

SrATUES.

I. Statue of Zeus on a throne. Clarac, iii. 396 D, 666 A.
On a seat without a back but with two transverse beams (xavoVes),
sits the god, his legs and back covered by a wide cloak, a comer of
which lies on the 1. shoulder; breast and stomach nude. The 1. arm
is raised, the r. hand rests in the lap, the head is slightly bent. The
state of preservation is unusually good. New : nose, both eyebrows,
upper lip, the ends of several tresses, the 1. forearm (which, to
judge by a large piintello on the cloak, was once placed nearer to
the head), the r. hand with the thunderbolt, some small pieces of
drapery, and part of the seat. Head, feet, and plinth have never been
broken. The rather decided slope of the thighs towards the knees
is well adapted for a large statue in a lofty position. As the back
part is cut off straight, and the depth of the seat is so small that the
god cannot sit comfortably, it is plain that the statue was meant to
be set up against the wall of a somewhat confined room. The
workmanship is merely decorative, and is best on the cloak, the
deep round folds of thick, soft material being well rendered. The
most insignificant part is the head with its good-natured expression
(not correctly given in Clarac). The tresses of the head, which
are traversed by a fillet, and of the beard are much separated from
each other and mechanically curved. Coarse-grained Parian marble.
H. 2-07. From the Villa d'Este. Cf Overbeck, Kuiis/tiiyt/i., 11. p.
118. [*ClV,Scha,-/]

2 (Court). Draped female statue, colossal scale. Clarac,
HI. 430 A, 774 C, "Ceres." Man. Matf/i., I. PI. 29, "Ceres."

502 MARBURY HALL 3, 4,

, Dallaway, no. 7, " Sabina." This female figure stands in a quiet
attitude with the weight on the r. leg, draped in a long, girdled,
doubled chiton. A head of Sabina (eyeballs expressed), of earnest,
expression and with careful treatment of the hair, is set on. The r.
arm is akimbo, the lowered 1. hand holds ears of wheat and pop-
pies. According to Scharf the hands are antique, the whole statue
being very perfect ; though Clarac was of opinion that the whole
r. arm and the piece of the 1. between armlet (antique) and wrist
are modern. In this case we may be supposed to have before us
an empress (Sabina ?) as Ceres. The bunch in the 1. hand and
indeed much besides seemed to me, upon only a cursory view, to be
restored. The colossal statue is of pretty good work ; the general
effect is not bad. H. abt. 2 '20. From the Villa Mattel. \^Scha?-/^
3. Statue of Apollo. Clarac, 111. 476 A, 906 B. Mon. Matth.,
I. PI. 5. Dallaway, no. 5. The torso only is antique. It exhibits,
only with the sides reversed, the movement given in the Apollo
Belvedere ; the r. shoulder is remarkably raised, the pose of the
arms indicated by their stumps. The workmanship is not distin-
guished, but rather animated. Marble probably Pentelic. By means
of a modern neck an antique head, of a different kind of marble, has
been set on. It is crowned with a wreath of laurel ; its expression
empty and insignificant, the forms effeminate, the surface re-worked.
New : chin and tip of nose ; besides the whole r. arm, three quarters
of the 1., the whole cloak, which is riveted on, the member, the lower
parts of both legs, the stem of a tree with quiver and snake by the 1.
leg. For the restorations the Vatican statue may have served as a
model. The cloak was not yet in existence when the statue was in
the Villa Mattel, but has been subsequently put on. H. without
pedestal 177. [*C]

4 (not in the Gallery). Statue of a Nymph of Artemis ?
Clarac, iv. 564 A, 1208 C. In the Catalogue the figure is called "a
Diana, imperfect." The chiton is buttoned along the upper parts
of the arms, and reaches down a Uttle below the knees; a cloak,
folded double, is fastened on the 1. shoulder and envelops the body
to the knees, except the r. breast and shoulder. The figure rests on
the r. leg ; by the 1. is the stem of a tree. The lowered r. arm is
almost entirely modern, as also the 1. hand with wrist, and the feet.
Antique, but set on and not belonging to the statue, is the head, which
is encircled above the brow by a twisted fillet or a roll of hair, while
the back of the head is covered by a smooth cloth like a hood.
H. I '68. \^From a sketch by Scharf \

MARBURY HALL 5, 6. 503

5. Statuette of an astragalizusa. Clarac, iv. 564 D,
1248 A. This statuette, much broken and [)atched, is entirely modem;
it is made of a soft kind of marble much like alabaster. The r. leg
is more completely exposed than in the antique examples, except
the copy in the Louvre (Clarac, iii. 323, 1425) ; the knuckle-bones
are missing. H. 0-26. [*]

6. Statue of " Elektra." Clarac, iv. 594, 1449 B, "Venus
armee." Daliaway, no. 3, "Venus Victrix." The antique portions
resemble the Elektra of a group in Naples, in which she is repre-
sented in conjunction with Orestes (Clarac, v. S36, 2093. Jahn,
BericlUe d. sdc/is. Ges., 1861, PL 4, i, pp. 119 f Kekul^, Gruppe d.
Menelaos, PI. 2, i). It does not of course follow for a certainty
that our statue should be named in accordance with this likeness.
Antique : the torso as far as the knees, three quarters of the r. arm,
1. arm except the hand which is missing ; 3. punldlo on the corner of
the drapery which hangs down (of which the lower half is new)
suggests that the 1. hand originally held some long object. New :
lower parts of the legs and half the 1. forearm with the arrow.
Antique, but not originally belonging to the statue, is the head of
Venus with fillet and a large knot of hair on the crown. The head
is of Greek marble, the body of marble with blackish spots, perhaps
from Lower Italy ; a tress in the nape of the neck on the torso,
answering to one on the Elektra in Naples, is not continued in the
hair of the head. The remarkably deep girding of the chiton about
the hips allows the whole body to shew through the fine Coan
drapery ; between breast and girdle it lies close on the form with
scarcely a fold, the abdomen and thighs also are hardly concealed
by the thin folds ; a deep hollow on both sides of a vertical fold
which falls down from the stomach displays the shape of the legs very
clearly. The style is like that of the Venus Genetrix (cf Holkham,
no. 23) ; the exposure of the 1. breast also displays a similar taste.
The latter trait, and also the pose of the arms and neck, completely
deviate from the Elektra in Naples, and therefore suggest that oui
statue, detached from the group, has as a single figure received
another meaning. A similar increase of refinement finds expression
in the other extant copies enumerated by Jahn (/. cit.). The nude
parts exhibit rather poor workmanship ; the back is quite carelessly
treated. H. 171. The statue was found by Gavin Hamilton in

1 771 during a very productive excavation near Tor Colombaro (ai
the ninth milestone on the Appian road), and restored as Venus
Victrix (Daliaway, p. 373 (11, p. i2r.|). \*C]l']

504 MARBURV HALL / — 9.

7. Statue of Eros. Clarac, iv. 650 A, 1469 A. Dallaway,
no. 16. The youthful god stands on the r. leg, close to which the
stem of a tree has been introduced ; the 1. leg is a little drawn back.
The r. arm was originally raised, the 1. lowered. The head is some-
what inclined towards the r. shoulder and is richly covered with curls.
It seems to belong to the statue, though re-set No trace of wings.
New : the r. arm, the 1. forearm with arrow, the lower parts of both
legs, the stem of a tree except a junction above the knee ; no part of
the bow, which is to be seen on the stem, is antique. Excellent
Parian lychnite. H. I'oS. [*]

8 (Saloon). Group of Dionysos and a Bacchante (rather
than Ariadne). Clarac, iv. 694, 1634. Dallaway, no. 12. The
Bacchante strides forward in lively movement. She has on a short
chiton which leaves the 1. breast and shoulder exposed. A nebris
girt slantwise from the 1. shoulder over the breast holds up the
chiton, its corners hanging down lower. She winds her r. arm round
the back of the youthful god, who, heavy with wine, has laid his 1.
arm round her neck and leans heavily on her, while his legs move
forward with difficulty. To his condition corresponds his unusual
envelopment in the wide cloak, which entirely covers the whole body
and the r. arm ; the legs on the contrary are for the most part left
free. His 1. hand holds a corner of his companion's drapery. The
group is much restored, still the restorer seems in essentials to have
hit upon the right treatment. This is certainly the case as to the
pose of the two heads, which are turned towards each other. New :
both heads, and besides, of the god, half the 1. forearm with the hand
and the greater part of the corner of drapery held in it, 1. leg, and r.
foot ; of the female figure, three-quarters of the 1. arm, a piece of the
r. arm behind the back of the god, the lower part of the 1. leg, the r.
foot with a piece of the drapery ; lastly the plinth. The engraving in
Clarac is much less clear and of less favourable effect than the original.
The group is full of tipsy Bacchic jollity ; its conception may pertain
to the Alexandrine rather than to the Roman period. Greek, pro-
bably Parian, marble. H. o'Si. For a similar group recently found
in Rome, now in the Berlin Museum, which is better preserved
and executed, cf. Dressel, Bullctt. dcW Inst., 1872, pp. 222 fif. ; it
would appear from this copy that the 1. hand of the Bacchante
originally lifted up part of her drapery near the 1. leg. [*]

9. Statue of boy with grapes. Clarac, iv. 694 A, 1637 A,
"Genie bacchique." Dallaway, no. 11, "patrician boy." This Roman
portrait head of a boy is by means of an inserted neck set on a body

MAKliURV IIAI.I, 10, I I. 505

of a different marble from that of the head. Nose new. Pupil.s
expressed. Of the body are new : only the r. hand and the feet
with part of the pedestal, but the whole figure is re-worked, and in
particular the ring on the fourth finger of the 1. hand was first
brought into being by a modern paring of the finger. In general
the work is fresh, the gentle movement in the 1. hip well rendered.
The powerfully made boy steps out on to the r. foot ; the r. arm
hangs straight down. An ample cloak, fastened on the r. shoulder,
covers the back almost down to the feet, also the 1. arm and the
breast. The 1. hand holds a large bunch of grapes before the
breast. The width and length of the drapery, which is strange for
an ordinary boy, leads to the suggestion that the figure is a repre-
sentative or genius of vintage, akin to the " Vertumnus " at Ince
(no. 6); the r. hand may have held a pruning-knife or the like; cf
Miiller-Wieseler, 11. 75, 964 ;/; 965, and on the absence of wings,
Petersen, v^//;/(j//, 1861, pp. 215 ff. H. i'i4. [*]

10. Statue of a Bacchante. Clarac, iv. 694 B, 1623 A,
"Ariane." Mon. Matth.,i.V\. 6&. Dallaway, no. 8 ? The figure rests
on the r. leg, with the 1. drawn back. A long, sleeved chiton with a
considerable mass of fold about the hips covers the figure ; a nebris
is girt slantwise from the 1. shoulder and partly hangs down far ; a
broad girdle keeps all together round the waist. Long tresses fall
down on the shoulder. The upper parts of both arms are lowered,
the 1. forearm advanced. New : almost the whole of the 1. fore-
arm with tympanon, three-quarters of the r. arm (which, when in the
Villa Mattei, held a bunch of grapes), the front corner of the nebris.
The neck with the tresses by it is inserted. The head (nose new),
which is crowned with ivy, does not belong to the statue. Coarse
work, calculated for strong effect, especially in the deeply undercut
heavy folds. Apparently Pentelic marble. H. V]2. From the
Villa .Mattei. \*C]

II (Saloon). Group of a Satyr on an ass. Clarac, iv.
696, 1610 A. Moil. Matth., i. PI. 13. Dallaway, no. 13. (Accord-
ing to all of them " Bacchus.") The ass steps out with lowered
head, with a bell round his neck. On his back is spread the skin of
an animal, on which sprawls a young Satyr, the 1. leg lowered, the
r. raised ; the 1. elbow resting on a leather bottle, the opening of
which his 1. hand grasps. The head of Bacchus, which the figure
wore when in the Villa Mattei, has been appropriately changed
for the head of a Satyr. New : of the Satyr, the head, almost all
the r. leg, the 1. foot, the r. arm with the pedum, and smaller patches

506 MARBURV HALL 12, 1 3.

in various places ; of the ass, ears, tail, parts of the legs, plinth and
pieces of the stem which underprop the body of the ass. Unhappily
the group is everywhere re-worked to such an extent that even the
genuineness of the whole piece may seem doubtful, though scarcely
with reason. In the course of the re-working the little tail of the
Satyr may very likely have disappeared. Italian marble. H. with
plinth 0-54. L. 0-46. From the Villa Mattei. [*]

12. Torso of an Apollo, restored as a Satyr. Clarac, iv.
704 A, 1683 C, "Faune." Dallaway, no. 10, " Faunus." The
genuine parts belong to an Apollo of that not yet sufficiently under-
stood type in which a swan sits at the feet of the god, who holds the
lyre high above the 1. shoulder (cf. Clarac, 11. 479, 918. 483, 928 A.
489, 948 A. 490, 954 A. Muller-Wieseler, n. 12. 131, cf. Dilthey,
Rhein. Jahrb., lii. p. 51, n. 2). The placing of the 1. leg before the
r., the gentle flow of the elegant torso and its slender proportions,
fall in exactly with that type. The work does not quite answer to
the delicacy of the conception. The marble is of a very fine grain
and of a yellowish tint with grey spots. There is naturally no trace
of a little tail, the god having been first degraded into a Satyr in
restoration. The Satyr's head, wreathed with pine, and with goat's
warts (^i/pea) on the neck, is of Thasian marble, but is antique ex-
cepting the nose and under lip. Entirely new: neck, both arms,
the flute, both feet, the whole support with nebris and pedum, the
pedestal H. 1-09. [*C]

13. Statue of a Nymph, a figure for a fountain. Clarac,
IV- 75o> 1831 A. Mon. Maifh., i. PI. 51. Dallaway, no. 17. Half
sitting on, half raising herself from a piece of rock is a girl, the
lower part of her body surrounded by an ample draper)', a narrower
part of which descends from her 1. shoulder. Both knees are bent ;
the 1. foot is somewhat raised on a piece of rock. Thus the 1. thigh
serves to support an urn which the Nymph holds with her two
lowered hands. From this, water originally was to flow into a basin.
On the lower part of the body there are only trifling injuries to be
remarked; the upper part too, though much broken, seems to be
antique in essentials. New: r. arm, three-quarters of the 1., almost
the whole urn inclusive of the comic mask, and the neck. The
head no doubt originally looked down at the urn. The much more
simple head which the figure had when in the Villa Mattei, and
which the drawings show, has subsequently been inappropriately
replaced by a head of a bacchante crowned with ivy, of Satyr-like
forms and with rich head-dress, which also looks away to the side

MAKBURV HALL I4, 1 5. 507

(cf. the subsidiary drawing in Clarac). The deeply undercut folds
by the legs, and especially those which run slantwise across the
lap, are of good effect. (Ireek marble. H. 1-27. From the Villa
Mattel. [*C]

14 (Saloon). Group of Herakles and Antaeos. Clarac,

V. 804, 2015 A. Dallaway, no. 14. Herakles has advanced the
r. leg and steps back on the 1., while he lifts up Antaeos, whom he
has gripped round the stomach from behind, and presses his back
tightly against himself. Antaeos writhes under the mighty hug of
his opponent, and tries in vain to grasp his arms with his hands ;
both legs are bent up at the knees, the 1. thigh lowered, the r. raised.
The artist has very skilfully arranged the group so that both bodies
have their fronts turned towards the spectator. Powerful, somewhat
coarse forms. The restorations are considerable. New: of Herakles,
head and neck, 1. forefinger, three last fingers of r. hand, 1. knee and
1. foot (the shin seems antique), r. leg from above the knee down-
wards, the support covered with the skin except the junction at the
top, the club, the plinth ; of Antaeos, head and neck, almost the
whole r. arm between shoulder and wrist, a small patch inserted on
the 1. wrist, r. foot, and 1. leg. Ordinary execution. Pentelic
marble. H. 077. [*]

15. Group of a male figure on horseback. Clarac, v.
810 B, 2028 C, " Amazone," after an erroneous conjecture hazarded
by Millin, who rightly objected to Dallaway's designation, " Paris
Equestris" (no. 2); in the letter-press Clarac himself points out the
absence of the female breast, vwthout however altering the nomen-
clature. The youthful rider, whose antique parts show no trace of
Phrygian costume, sits on a prancing horse, bending down to the
r., only clad in an exomis, conceived as at a hunt rather than as in
battle. While the 1. hand holds the reins, the r. arm was originally
raised as now, obviously to deal a thrust or blow. The head of the
horse is turned r. The genuine parts are pretty well executed, and
are very different from Clarac's bad engraving. The motive is more
animated than that of the so-called Commodus of the Vatican {Afon.
Matth. I. 93. ATus. Chiaram., iii. 25. Clarac, v. 962, 2475), and
more like the bronze Alexander from Herculaneum {Ani. di ErcoL,

VI. 51. Clarac, v. 840, 2105. Miiller-Wieseler, I. 40, 170). There
is a similar figure in Turin (Diitschke, Ant. Bildw., iv. no. 81.
Witsz\^T, Nachric/itcn von der Gottinger Ges. d. Wiss., 1877, p. 661,
no. 7). New: the head with a strange kind of Phrygian cap, the r.
arm, lower parts of both legs ; of the horse, head with part of neck,

508 MARBURY HALL l6 — 18.

legs, and tail. Pentelic marble. Present height to the point of the
cap I "1 8. L. of the rider's body abt. i'04. The statue was found
together with no. 6 in 1 771, by Gavin Hamilton, at Tor Colombaro,
and passed through Jenkins' hands to Smith Barry (cf. Dallaway, p.
372 [11. p. 124]). Hamilton speaks of it in a letter to Lord Shel-
burne of Aug. 6, 1772 {Academy, Aug. 17, 1878, p. 168) in the
following terms : " I have likewise sold him [Jenkins] a young
figure with a Phrygian cap on horseback, but considering it was so
much fragmented, and well knowing what nice judges we are in
England in horse flesh, I declined sending it." [*C']

16. Statue of a herdsman. Clarac, v. 833, 2077 A, "Paris."
Leaning towards the r. on the stem of a tree stands the youth, his
r. leg set slightly before the 1. The chlamys surrounds breast,
shoulders, and part of the back, and falls down over the r. arm, on
which rests the pedum ; the 1. arm was probably always akimbo.
New: head with Phrygian cap and 1. arm with apple, by which
symbols the conversion into " Paris " has been effected ; also the
r. hand, the larger, lower part of the pedum, the lower parts of the
legs, and the pedestal. Decorative style of workmanship. Thasian
marble. H. 174. [*C]

17 (Court). Statue of Helios, colossal scale. Clarac, v.
839, 2104, " Alexandre le Grand." In complete nudity the youthful
figure steps forward with the 1. foot foremost. The body is very
powerfully made. The youthful head, which shews well-rounded
forms, is surrounded by rich, long, curly hair, not, however, arranged
in the manner characteristic of heads of Alexander, which by its
inclination towards the 1. shoulder it otherwise resembles. New :
nose and parts of the lips, both arms with globe and sword, lower
parts of both legs, the stem of a palm, the weapons, and the pedestal.
The hair is to a great extent hollowed out with the drill ; the treat-
ment of the nude is coarse and clumsy, yet not out of keeping with
a colossal figure. The shoulders are unusually broad. The name
Helios is due to Scharf, who compares the head on coins of Rhodes;
we might also call to mind a Dioskuros such as those on the steps of
the Capitol. H. abt. 2-80. S* Scharf \

18. Statue of a poet or philosopher. Clarac, v. 844,
2125. Dallaway, no. 15, " Homer." The figure rests on the r. leg.
The cloak is disposed similarly to that of the Demosthenes at
Knole (no. i), only that the r. hand draws the corner, which hangs
down from the 1. shoulder, somewhat slantwise in front of the breast,
and thus brings some life into the drapery. The 1. arm is lowered ;

MARBUKY HALL I9, 20. 509

by the 1. foot stands a bundle of rolls strapped together. It is a
prettily designed statue, and is executed in good decorative style, of
better effect than the engraving leads us to suppose. New : feet and
pedestal, the lowest piece of the bundle, the 1. forearm with the
volumen, the r. forearm and part of the drapery. The figure is of
Pentelic marble, likewise the head, which is set on, but with a clean
cut, and is perhaps original ; at any rate it suits the figure well.
The head is bearded, the hair entwined by a twisted ribbon, the face
(new: tip of nose) of dignified aspect. It certainly has no connec-
tion with either Euripides, as Conze proposed, or Zenon, as Scharf
thinks ; for Homer, too, the characteristic traits are wanting. The
head a little recals the so-called Hesiod of the Braccio Nuovo,
no. 89, in the Vatican (Pistolesi, Vatkano, iv. 23, i). H. i't4.
[*C, Scharf \

19 (not in the Gallery). Statue of a boy with a bird.
Clarac, v. 878, 2236. A half-grown boy, standing in repose, with
a small cloak flung round him, which covers the loins and part of fhe
1. arm, holds in the 1. hand a bird, which is apparently dying (an-
tique?). He raises the r. arm. The head, with a -ivreath of oak on
the smooth hair, is borrowed from another statue. According to
Clarac's letterpress this would be the only alien addition; the
engraving represents the r. hand also as restored. H. 073. Can
this be Dallaway, no. 9, "A statue of Trajan, when young"?

20. Statue of Antinous, colossal scale. Clarac, v. 946,
2430 A. Dallaway, no. I. It is a fairly exact replica of the Vatican
statue, Braccio Nuovo, no. 14 {Mus. Cliiaram. n. 39. Clarac, v.
947, 2430). Both statues, which are of about the same size, come
from Ostia. The Vatican copy was discovered in 1798 at Tor Bovac-
ciano (Fea, Viaggio ad Ostia, p. 48) ; the English example had been
found considerably earlier by Gavin Hamilton, and indeed not, as Fea
says, in 1788 near the Capanna de' Bassi, but, according to Hamil-
ton's own account, in the year 1772 near Porta Marina (Dallaway,
p. 377 [11. p. 129], cf. Lord Edm. Fitzmaurice, Academy, Aug. 10,
1878, p. 142, notej). New on our statue : r. arm, 1. hand with the
bunch of ears of corn and poppies, the greater part of the lap full of
fruits, the feet, the lowest part of the support, and the pedestal. The
neck is inserted and the greater part of the head modern ; a piece,
however, comprising the chin with the 1. jaw, the under lip, the r.
cheek and a great part of the tresses, is antique and, as I believe,
originally belonging to the statue. (According to Dallaway and
Waagen the whole head would not belong to the statue.) While in

510 MARBURY HALL 21 — 24.

the Vatican statue the lap of the cloak, so far as it is antique, con-
tains roses, narcissuses, bell-shaped lotus and pears {Mus. Chiaram.,
II. p. 86), and therefore suggests different seasons, in the antique
parts of the English statue only autumn fruits are contained, grapes,
plums, apples, quinces, a vine leaf Both suit the conception of
Antinous as Vertumnus. The body exhibits the usual merely ex-
ternal polish of the sculptures of the period of Hadrian ; a polish
admired by a generation which saw true ideal art in this academic
elegance. Greek marble. H. 2-40. \*C\V^

21. Male torso, rightly compared by Conze with the Borghese
boxer in the Louvre. The torso, both thighs nearly to the knees,
a stump of the r. arm, which was considerably bent back, are pre-
served. The 1. arm with the whole of the shoulder is broken off, but
was presumably once stretched straight forward ; for the whole of the
upper part of the body is strenuously urged in this direction ; of the
legs, on the other hand, the r. is advanced, the 1. drawn back. A
chlamys is fastened on the r. shoulder, covers breast and back in a
narrow strip, and seems to have been bound round the arm instead
of a shield (bracchium dupeatum chlatnyde). The development of
muscle is very powerful, especially on the beautifully curved back.
Pentelic marble. H. i'o6. [*C]

22. Torso of a Satyr. Only the torso with a tail, inclusive
of the shoulders and the stumps of both thighs, is preserved. This
however is sufficient to enable us to recognise in this specimen a
replica of the SatjT stamping the krupezion of the Florentine Tribune
(Clarac, v. 715, 1709. Miiller-Wieseler, n. 39, 462). For other
replicas cf. Matz-Duhn, Aiit. Bildw. in Rom, no. 416; cf also
Richmond, no. 42. Very good work. Apparently Italian marble.
H. 0-56. {*CW\

23. " A statue of Bacchus with a Faun." Dallaway, no.
4. In the Catalogue there is no entry of the kind. Can there have
been a confusion made with no. 8 ?

24. "A statue of Vespasian." Dallaway, no. 18; not in
the Catalogue. The statue is also mentioned in the Townley papers
(Bodleian Library, Oxford) as having been bought from Jenkins for
;£3o : "A Statue of Vespasian in a Consular Habit."

MARKURY HAI.r. 2$ — 36. 511

Busts.

I was not able to take more than a cursory survey of these
busts, wliich are for the most part of life size and of good or mode-
rate workmanship. Scharfs notices too, which lie before me, give
but few derails.

25. Hadrian. Modern. [*]

26. Antoninus Pius ; large life size. Dallaway, no. 20.
H. 0-96. [*Si/u,/f]

27. Antoninus Pius ; very fine. [Sc/iar/]

28. Marcus Aurelius. Dallaway, no. 19. About the same
size as no. 26. Bought from Jenkins for ^80 (Townley Papers,
O.'cford, Bodleian Library). [*Si:/iar/]

29. Lucius Varus. Dallaway, no. 23. [*Si:/ia?f]

30. Aelius Verus. Dallaway, no. 20. According to Scharf,
more likely Commodus. [*Sc/tar/]

31. Septimius Severus. Dallaway, no. 22. Not quite so
large as no. 26. [*Sc/iar/]

32. Unknown. Dallaway, no. 24. With short cut beard. [*J

33. " Pindar." Dallaway, no. 27. It reminds me of Metro-
doros. [*]

34. Empress. Small size. Dallaway, no. 26, "Juno." The
head-dress is peculiar. Stephanfe over forehead. New: nose.

35. Satyr. Dallaway, no. 25.

Reliefs.

36. Puteal, representing Paris and Helena. Orlandi,
Ze nozze di Paride cd Elena, Rome 1775, Fo'- Tischbein, Horner,
PI. 5, 2. Millin, Gal. Myth., PI. 159, 541. Spec, 11. 16. MQller-
Wieseler, n. 27, 295. Dallaway, no. 29. Cf. Jahn, Ber. d. sacks.
Ges., 1850, pp. 184 f. Overbeck, Bildwerke, pp. 269 f. Stephani,
Co7npte-Reiidu, 1861, p. 122. According to a letter from a Neapo-
litan in the Townley papers at Oxford (Bodleian Library) the relief
stood during two centuries and a half '' Neapoli in doino M. Comitis de
Matalona in ore putei." In fact, an old drawing in the collection of
Mr A. W. Franks, Brit Mus., London, shows the relief still enclosed
by a simple cornice at the top and a narrow listel at the bottom.
Dallaway observes : " Formerly in the Columbran Palace at Naples.
The cup at the bottom and the cornice at the top, by which it
becomes a vase, were added when in the ])ossession of Mr Jenkins

512 MARBURY II ALL 36.

about the year 1772." Thus the marble became famous under the
name of the "Jenkins vase." The genuine piece is 076 high, its
upper circumference measures 2-46. Italian marble, spotted with
grey. Helena sits on a seat without a back, draped with chiton and
cloak, in the typical attitude of a modest bride, supporting the
lowered head on the r. hand, while the 1. holds a corner of the cloak
in the lap ; her feet rest on a stool. (New : head, r. shoulder,
greater part of the r. forearm, the 1. hand and the wrist.) Beside her
sits Aphrodite, draped in a chiton, which has slipped down from r.
shoulder and breast, and a cloak, which also veils the head. She
looks at Helena, round whose neck she has laid her r. arm, and
points with her outstretched 1. hand to Paris. (New: nose, both
thumbs, and r. foot.) Opposite these two approaches Paris-Alex-
andros, in chlamys and Phrygian cap, under which rich curls issue
forth. His glance is fixed in admiration on Helena's beauty ; the
1. hand laid on the breast gives expression to the same feeling of
lingering wonder. (New : face, r. forearm with hand, 1. hand partly,
a piece of 1. thigh and knee.) His r. hand is grasped by Eros, who
with wings outspread is striving with both hands to lead forward to
Helena the hesitating youth, at whom he looks up. (New : head, r.
arm and shoulder, 1. hand, and the two first toes of the 1. foot.) The
action of the Eros is considerably coarser than in a relief in Naples,
which exhibits essentially the same group, interpreted by inscrip-
tions, but throughout much more delicately, less unreservedly treated
(Winckelmann, y)/<w. Ined., PI. 115. Mus. Borb., in. PL 40.
Millin, Gal. Myth., PI. 173, 540). Instead of the Peitho, who in
the Neapolitan relief sits on a high pillar behind Helena, in the
English relief are grouped three Muses together behind Helena's back,
facing r. Next to Helena stands " Polyhymnia " leaning on a low
pillar in the attitude of well-known statues, quite enveloped in the
fine cloak. (New: nose, and 1. hand with roll.) "Euterpe" comes
after her, draped in chiton and cloak, blowing a straight and a curved
flute. (New : nose, little finger of r. hand and a great part of the
forearm, and the r. knee.) "Terpsichore" or "Erato" comes last,
playing on an instrument, which in size resembles the lyre rather
than the cithara, but in shape and the way it is handled is more
like the latter. (New : nose, r. forearm with lower half of hand, and
half the r. foot.) The presence of the Muses is explained by the
similarity of the whole representation to a marriage ceremony : they
are raising the hymenaeal chant. Still they seem to be a later addi-
tion to the original composition (cf., besides the relief in Naples, the

MARP.l'RV IIAI.I, 3". 513

Vatican relief in Guattani's Mon. iiial., 1785, Giiigno, PI. 1). In
a marble vase recently discovered in Rome, which repeats the same
scene, the group of the Muses is due to the restorer, who was
induced by a very faint remnant of a draped female figure to
introduce the three musical sisters of the Jenkins vase {Bullett. della
(ommiss. arch, comun. di Roma, viii. PI. 6 — 8, pp. 119 ff.). Un-
happily our whole relief (it may be presumed, when being conformed
to the shape of a vase) has been considerably re-worked, so that
there is probably little of the original surface left. The draperies are
more dryly treated than the nude parts. Nevertheless it is a good
Roman work, of unusually high projection and considerable effect.
Between the heads of the figures there runs in thick, rough, and clumsy
letters, not however of bad shape, the following inscription, which
is presumably a later addition: GRAECEIA- PF- (head of Aphro-
dite) RVFA (wing) POMPON (wing, into which the N is partly cut,
and head of Paris), DIANAE (head of Terpsichore-) LOC'i (head of
Euterpfe, whose knot of hair has caused the smaller figure of the H)
S- P- S- C- P- S. The interpretation of the inscription is difficult,
cf Gruter, no. loir, 3. Orelli, no. 1450. Mommscn {I.R.N., no.
2589 and Ber. d. sacks. Ges., 1850, p. 185 note) gives the following
explanation: Gracceia P(tibli) f{iUa) Rufa Pompon{i) Dianae, loc(p)
ii{oc) s(ibi) piyCrmissd) s(enatus) c{piisultd), J>(ccunia) s{i/a) ; where the
order /oco hoc for hoc loco and the absence of a stop before H remain
strange. The late Prof. Wilmanns regarded the whole piece as a
sepulchral ara dedicated by Gracceia Rufa to Pomponia Diana, in
which her remains were to be laid (cf. Wilmanns, Exempla Inscr.
Lai., no. 315, 1. 9, araque ponatur ante id aedificium ex lapide
Lutiensi quam optima sculpta quain optuine, in qua ossa mea re-
ponaiittir. Janssen, Inscr. Mus. Lugd., p. 108, cuius ossa in ara
monumenti sunt, etc.). He knew no certain explanation of the
abbreviations. [*CW,Scharf]

37. Attic sepulchral hydria, originally with three handles ;
foot and lid modern. In front a scene of leave-taking, in low relief,
carelessly executed. On a comfortable chair with back and curved
legs sits, facing r., the bearded Smikrias of Aphidnae ($MIKPIA$ |
A<t>IANAIOZ), with leg and back covered by the cloak, his feet set
oil a stool. He holds out his r. hand to Theophile (© hO*IAH),
who, in chiton and cloak, stands before him ; she is not veiled.
Behind Smikrias, leaning on his chair, stands a female figure, also
unveiled, in chiton and cloak, in attitude of grief, her chin supported
in her 1. hand ; behind Theophile a diminutive attendant in ciiiton
M. C. 33

514 ArARBURY HALL 38 — 40.

only, a small box on her raised r. hand and another in her lowered
1. hand. Pentelic marble. H. of genuine piece 0-46, of figures o"2o.
It is very likely that this is the piece of which the Catalogue says,
"A Grecian Vase, by Apollonius"; as to this name, cf. Petworth,
no. 6. [*C]

38 (not in the Gallery). Fragment of an Attic sepulchral
stele ; only the upper half preserved. A female figure sits facing
r., Phanodike the daughter of Agatharchos. Relief not high. On
the upper border the inscription $ANOAIKHArA0APXO, the final O
standing for OY; the stelfe therefore belongs to the first half of the
fourth century B.C. Breadth of the fragment 0-38. [C]

39 (not in the Gallery). Marble discus, on either side a well-
composed relief of ordinary workmanship. A. A slender, youthful
Satyr dances with light step to the r., the pedum in the lowered 1.
hand, swinging in the raised r. hand apparently a torch ; a nebris
hangs over the r. arm. He looks back. Below the nebris, near
the 1. edge of the relief, a goat jumps up, turning back her face to
him. B. The Satyr, kneeling, with r. hand stretched out behind
and 1. hand raised, futuit capram, which stands quietly before him
looking round at him. To the 1. behind the Satyr a leafless tree, to
the r. a rock. Diameter 0-37. Thickness 0-025. [Q Scharf]

40 (not in the Gallery). Marble medallion, with the bust of
Menandros; MENANAPOC on the lower border. Dallaway, no.
28. Engraved and described by G. Scharf, Trans. J?. Soc. Lit., Vol.
IV., new series. From the round frame the bust stands out quite in
full face. The breast is covered with a chiton, the shoulders also
with a cloak over it. Over the r. shoulder there is in the field an
open scroll meant for an inscription, but not inscribed. " The head
is the size of life and in very high relief. The face is delicate and
somewhat effeminate, the hair rather full and curled, the eyebrow
strongly marked, and the mouth full and pleasing. The nose is
delicate and the nostrils rather small, for although the tip of the nose
has been broken off and restored, enough remains to satisfy us on
these points." Eyeballs indicated. Scharf takes this medallion to
be identical with that which passed from the possession of Fulvio
Orsini {Imagines, PI. 33. Gallaeus, Illustriiim imagines, PI. 90) to the
Farnese family, and which Visconti got drawn in the Farnesina be-
fore the collection was brought, in 1787, to Naples (Visconti, Iconogr.
Gr., I. PI. 6, 3, p. 117, note 3 Mil.). The work in question certainly
is not in Naples, but has disappeared, like the similar medallion of
Sophokles. Although, then, it is conceivable that it may have found

MARl'.URV IIAI.L 4I— 45- 515

its way from the Farncsina to NEarbury Hall, still the difference in
the entire pose of the head, in the draping, in mouth and brow, in
age, and the absence of the pupils and the roll in the Farnese
medallion, are sufficiently remarkable to make its identity at all
events questionable. H. 055. L. 0-48. D. o"23. [Sc/iarf]

41. Circular pedestal. A fine round altar with two Centaurs,
one with syrinx, and the other playing the double flute; a lighted
candelabrum between them. H. 1-07. Diam. 074. [Sc/iarf]

42. A round altar with pretty boys and garlands. On a round
shield the inscription : Apollini \ sacrum. The whole monument
seems to be modern. ^^Scharf^

43. Square Cippus, with the inscription Dis Manibns \ Af.
lunio Phoebo, vix{it) a!in{is) xxv, \ I>{is) M{auibus) \ M. Ittnio
Anopteni (?), | vixit annis xxx \ m{ensibits) iiii, fecit \ lunia Artemisia \
coniugi siw \ carissimo b{cnc) vi(erenti\ Below, a candelabrum be-
tween two griffins. [C]

44. Square Cinerarium. Inscription written in lines : DIs
Manibus \ luniae Corinthidi \ M. Junius Satyr{us) | l(ibertae) suae
I'enemerenti. Below, a female figure lying on a rock ; by her a boy
blowing on the syrinx, on the 1. a bird, on the r. a sleeping goat.
Quite low down a Cupid on the 1. seizes an overturned basket of
grapes, at which a hare nibbles, but is seized from behind by another
Cupid on the r. [C]

45. Square Cinerarium. Inscription : D{is) M{anibus) \ M.
Vlpio Aus{!isli) iib(,rti>) \ dementi Vlpia M. /{ilia) \ Clementina

filia I patri pilssimo fec(it). On each side of the inscription a winged
lion which has caught hold of on one side a ram's head, on the other
a bull's head. At the corners masks with large ears and horns of
Amnion, and below each a cornucopiae. [C]

" Among the altars of quadrangular form are some of agreeable
and rich decoration." Waagen. Conze mentions swans, Cupids,
rams' heads, as ornaments of such sepulchral monuments.

On the proposition of Mr Scharf, the owner generously pre-
sented, in 1850, to the British Museum a Fragment of the frieze
of the Parthenon, which was then in his collection, namely the
upper 1. corner of slab xxxii of the North frieze (Michaelis, Par-
t/ienon, PI. 13).

I leave unmentioned a number of miscellaneous antiques,
seen by Waagen and Scharf, mostly unim[)ortant ; Conze notices
indeed a good mosaic with a mask.

33-

5l6 MARGAM I, 2.

MARGAM (Glamorganshire, Wales).

Dallaway, pp. 346 ff. (11. pp. 93 ff.). Michaelis, Air/i. Zcit., 1874,
pp. 48 ff.

The mansion of Margam is situated in the middle of a beautiful
wood of oaks, above the picturesque ruins of the old Margam Abbey,
not far from the sea, and near two railway stations, Pyle (2 m.)
and Port Talbot, near Aberavon (3 m.). The property has long
been in the possession of the old family of Mansel, since the middle
of the last century in that of the Mansel-Talbot branch. The
collection of antiques was made in the latter half of the last century
by Thomas Mansel-Talbot, Esq., having been entirely, or for the
greater part, bought from Gavin Hamilton and Jenkins. It was how-
ever, I know not why, left in the packing-cases during the greater
part of Mr Talbot's Hfe (Dallaway, Of Statuary, p. 344). The
marbles were at first placed in the Conservatory erected in 1787
{Beauties of England and Wales, xvin. p. 706); lately, however, they
have been brought into the fine mansion built about thirty years ago,
and there disposed in " the Tower " (a staircase-hall proportioned
and roofed like a tower, and hence so called), on both sides of the
principal flight of stairs. The light is unfortunately insufficient, and
comes too much from above. Only two colossal statues (nos. i
and 4) still stand in front of the Orangery; four busts (nos. 10, 11,
14, 15) have received a place of honour in the Library. The
numbering of the following catalogue is Dallaway's. Since his time
the collection had been quite lost sight of by antiquarian writers,
until I visited it in the autumn of 1873.

I (Garden). Statue of Lucius Varus, colossal scale; cor-
responding to some extent to the Lansdowne statue, no. 63. The
head, which looks straight forward, has never been separated from
the trunk. The work, though not bad, still is rather empty, the
drapery especially poor. New : nose and upper part of head with
the hair, both arms, the stem of the tree by the r. leg for the most
part, the r. leg from below, the 1. from above the knee downwards ;
the cloak is considerably patched. Thasian marble. H. without
pedestal 1-96. [*]

2. Statue of a Roman in the toga (Tiberius). A good
statue of Carrara marble, with deeply but somewhat sharply carved
drapery, and with a sinus hanging down as far as below the knees.
The feet are clothed with soft shoes, of which the fastenings are

MAKr.AM 3, 4. S17

indicated by light incisions. Tlie toga, to judge liy the absence of
the so-called umbo (a small bunch of folds near the waist) and by
the direction of its upper folds, was originally drawn over the head.
Conformably to this, a veil has been in modern times attached to
the beautiful, youthful head of Tiberius, of Greek marble, which is
connected with the body by an inserted neck. New also : nose,
many details of drapery, the 1. hand, the r. forearm with a cup, in
the interior of which isa copy of the celebrated Rondanini head of
Medusa. H. r88. From the Carafifa Collection in the Colum-
brano Palace, Naples ; then in Jenkins' possession. [*]

3. Statue of a Satyr boy, with the 1. arm supported on
a tree, holding the 1. leg before the r. (cf. Clarac, 11. 296, 1670;
167 1. IV. 703, 1673. 704 D, 1683 A. 705, 1676). New: r. arm,
half the 1. forearm with syrinx, nose, and a few trifling details. In
other respects the whole figure is in excellent preservation, the head
having never been broken off. It is a slender boy of full, soft
forms, near the age of adolescence ; the face, more childlike than
that of the so-called Periboetos, with full outline and free expression,
looks complacently with a slight inclination forwards, at the hands,
which probably have always held a flute. The disordered hair and
the brutish ears denote the Satyr, a tail is not to be found. The
treatment is decorative, but good and broad ; the thick skin, which
is tied in a knot on the 1. shoulder and passes slantwise over the
breast and 1. arm and then hangs down and covers the greater part of
the tree, is indeed of very good, picturesque effect. The boy, i'28
high, stands on a piece of rock, oti high, by which is the stem of
a tree which reaches quite down to the pedestal. This, oto high,
has a moulding in front. Fine, yellowish Thasian marble. H. of
whole 1-49. Purchased from the Barberini Collection through
Hamilton. [*]

4 (Garden). Statue of the drunken Herakles. With the
upper part of the body very much bent over backwards, and head
inclined forwards, he staggers with uncertain step. Both knees are
bent, r. leg advanced. The whole weight of the heavy body bears
on 1. leg. It is only with difficulty that the hero preserves his
equilibrium. The forms, always heavy, seem bloated by the wine ;
the feeble glance and protruded under lip admirably support the
impression of deep intoxication. The motive indicated by Dalla-
way, Hercules ebrius et uretiais, is so plainly expressed that the figure
might almost be thought to be meant for a fountain. Obviously the
conception was originally designed for bronze, cf. the bronze figure

5l8 MARGAM 5.

in Parma {Mon. ined. deW Inst., i. PI. 44) and other similar monu-
ments (Stephani, Comptc-Rendu, 1869, p. 158; 1872, p. 155. ArchiioL-
cpigraph. Mittheiluiigen aiis Oesterreich, i. p. 25, no. 84). In the
marble copy the effect is very much spoilt by the stem, covered
over with the lion's skin, which has of necessity been joined on to the
1. leg as a support. The hair forms short, crisp curls, the beard is
equally crisp but longer. The face shows the influence of the
Farnese type, only that the expression is coarser and more powerful.
Though the execution is not uniformly delicate, the general effect is
good. New : top and back of head, nose (the front half of the
head had been broken off, but is antique), half the r. foot, and
both arms. The r. arm seems to be correctly restored with the
club (cf Brocklesby, no. 112, and the statuette in Parma), the 1.
arm was always lowered and somewhat bent back, presumably in a
pose which served to facilitate the equilibrium of the body. A
puntdlo, of which a trace is visible on the 1. thigh, may have served
for the securing of the 1. hand or of an attribute. Pentelic marble.
H., without pedestal, 1-50. [*]

5. Statue of a youth. According to Dallaway, " Dioscuros,"
or "one of the Ptolemies." The statue belongs to the series of
figures lately so much discussed, of the school of Pasiteles, one of
which in the Villa Albani is the work of Stephanos (cf Kekul^,
Gnippe des Menelaos, pp. 21 ff.). The motive and the characteristic
details correspond so thoroughly to those of the youth by Stephanos
{Amiali deir List., 1865, PI. D, Kekuld, /. cit., PI. 2, 3; Overbeck,
Plastik, II. 2nd ed., p. 342) and to the Orestes in Naples (R.
Rochette, Alon. inl'd., PI. 23. Overbeck, /. cit., p. 343. Kekule,
/. cit., PI. 2, i), that a description is unnecessary. Particularly
characteristic are the small high head,, with the face of a singularly
long oval, the deep hollow of the throat, the square shoulders, the
broad and very projecting breast, the flat but not archaically narrow
stomach, the slender thighs with neat knees, and lastly the powerfully
rounded back with a very deep hollow along the spine and with the
loins decidedly sunk in. Of equally powerful design are the nates
(cf. Conze, Beitrdge zur giiech. Plastik, PI. 4 ; 6). The head had
been broken off, but it certainly belongs to the statue. New : nose,
under lip and chin, half the r. ear, sundry patches on the neck,
besides both arms from a little below the elbow, the private parts,
the 1. leg from a little above, the r. from a little below the knee,
the support, and the pedestal. In the other parts the preservation is
excellent ; the polish seems, to judge by some slight spots and corro-.

MARC AM 6, -J. 519

sions on the surface, to be antique ; if modern, it has at any rate not
gone very deep. Only the eyes, which are small but not sunken, are
deeply corroded. The example is undoubtedly one of the best of
its kind, and is worthy of the place of its discovery : it was found in
1769 by Gavin Hamilton, together with nos. g and 11, in Hadrian's
Villa (Pantanello). The proportions {Arch. Zeit., 1874, p. 50) agree
pretty well with those of the other copies (Kekul(5, /. cit., pp. 22,
26 f.). Worked in very fine-grained Parian marble, apparently lych-
nite. H. 1-46. [*]

6. Statue of a boy, corresponding in general with the statues
in the Louvre (Clarac, iii. 317, 1506) and in the Vatican (Clarac, v.,
876, 2236 A. 878, 2239). The little lad stands in the most natural
awkwardness equally on both legs, and with an air of embarrassment
grasps with the r. hand the border of his thick shirt before the breast ;
the 1. forearm is bent forward, and the hand must always have held
something (the restorer has given it a bunch of grapes). It quite
gives the impression that the boy has been stealing ; in capital con-
formity with this idea is the head, which is a little bent down (the
whole neck, to be sure, is an insertion), with the half anxious, half
puzzled smile on the wide-stretched mouth. A ribbon runs through
the thick, curly hair. The whole motive is exceedingly pleasing and
expressive. The disposal of the little shirt is very neat ; it has slipped
down somewhat from the 1. shoulder, and at the same time is drawn
up from the r. thigh towards the 1. elbow, so that its lines all converge
to the 1. hand. By the r. leg is a support ; on both shoulders a
button on the shirt. New : nose, neck, 1. hand with the grapes, lower
part of 1. leg, r. foot, and pedestal. Greek marble. H. 0-82. [*]

7. Statue of a youth ("Ganymede"). Torso of a powerful
youth, of rather poor workmanship, with both shoulders lowered
(arms missing) ; half of the thigh of the 1. leg, on which the figure
rests, of the r. leg almost all the thigh, preserved. The head is
peculiar ; it is re-set, but certainly belongs to the statue. The
round forms and cheerful expression would suit a fresh young girl
far better ; the long hair is brushed up, and forms a top-knot on the
crown, and behind, a fairly long plait, of which the extremity is of
one piece with the torso. The glance is a little raised towards
the 1. The combination of this effeminate head with the powerful
body of a youth has a disagreeable effect. On thighs and shoulders
traces of modern restoration. New : nose, lips, chin, part of the
r. brow, and small patches. Thasian marble, \ery much polished.
H. 0-98. [*]

520 MARGAM 8 — 13.

8. Fragment of a statue of Pan, the upper part of the body
of which is bent forward; the 1. arm was raised, the r. lowered; the face
has a crudely brutish expression. The whole fragment, which is much
broken, and patched and scoured to such an extent that the original
motive is hardly to be determined, conveys an unpleasing impression.
H. o-6o. [*■■]

9. Bust of Hadrian, head and neck. New : tip of the nose.
Corroded, but of good workmanship. Pentelic marble. Found in
1769 by Gavin Hamilton in Hadrian's Villa; cf Dallaway, p 369
(n. p. 12,). [*]

10 (Library). Bust of a noble Roman, a beautiful speci-
men, with lofty brow and short-cut hair, strong upper lip, and very
energetic mouth. Dallaway's designation of " Solon" rests, as Millin
conjectures, on the likeness — a very slight one indeed — to a portrait-
head on a gem, the inscription on which (So'Xwvos) once used to be
erroneously referred to the original of the portrait ("Maecenas") in-
stead of to the artist who engraved the gem (Visconti, Iconogr. Rom.,
I. PI. 13. Bernoulli, Rom. Ikonogr., i. pp. 239 ff.). The breast-
piece, draped in tunic and toga, is cut away in the shape of a bust
and bordered below all along the front with a row of small acanthus
leaves; below is the foot in the shape of an Attic pedestal (cf.
E. Huebner, Bihhiiss einer Roemerin (Clytife), Berlin, 1873, p. 26.
An/i. Zeit., 1874, p. 138. 1877, p. 14). This splendid work of
beautiful Parian marble bears no trace of modern polishing, and is
quite uninjured excepting the nose, the chin, and the r. eye near
the eyebrow. It seems, according to Dallaway, to have come from
Hadrian's Villa. H. 0-64. L. of face 0-215. [*]

11 (Library). Head of Sabina, with roundish indented
stephane, somewhat over life size ; much corroded and of common-
place workmanship. New : tip of nose, neck, and bust. Found at
the same place and time as no. 9. [*]

12. Bust of Antoninus Pius, a good specimen, of Pentelic
marble, with hair much undercut with the drill. Rather abraded.
New : tip of the nose and many details. From Hadrian's Villa. [*]

13. Head of Athene, elegant, but rather insipid, of a latish
type, though the oval is not overdone ; a long plait of hair on the
neck. New : nose, upper lip, half of the under lip. The top of the
head missing. An antique bronze helmet of the high, so-called
Corinthian shape, ornamented in front with two rams' heads, covers
the head. The ner k is antique and belongs to the head. Antique,
but not belonging to head and neck, is the bust, with a very effectively

MARC.AM 14 — 16. 521

treated jegis. The soft fleece covered with scales is arranged in folds
and bordered with snakes, the border on the 1. side being turned
over so iis to show the back ; the gorgoneion is drawn up towards
the r. shoulder and from it the folds start, as though the skin were
held together by it as by a clasp. H. of the whole, to the girdle,
o'S6. L. of face o'lQ. [*]

14 (Library). Heroic head, of strongly exaggerated pathos,
allied in style to the Laokoon. Pose, eyes, and mouth recal the
so-called Dying Alexander in Florence, yet it is wrath rather than
pain which finds expression in the highly excited features with the
mouth slightly opened. The treatment of the hair is very much
ruffled. The eyebrows, which are much knit, are expressed in sculp-
ture ; on the cheeks is a slight down. It suggests the WTathful
Achilleus, though the excitement is more marked than in the well-
known picture from Pompeii with the leading away of Briseis (no.
1309 of Helbig's catalogue) : if the head does not appear to be
youthful enough, this may be due to the extravagance in the ex-
pression of character which is peculiar to this style. At any rate
the original belonged undoubtedly to the Hellenistic period, and
perhaps to the Rhodian school. It must have been a masterpiece of
the virtuoso style. New : nose and upper lip, and pieces of both
ears. Pentelic marble. H. of head and neck, 0-35. L. of face,
o'205. It appears to be the so-called Hercules Agonisies, mentioned
by Dallaway, of the Mattel collection, purchased through Gavin
Hamilton. In fact the bust, Mon. Matth., 11. PI. 35, i, " Incognitus"
seems identical with our head ; though, to be sure, the engraving
would be unusually mistaken even for that publication. The head
has actually no bust. [*]

The following specimen is not mentioned by Dallaway :

15 (Library). Head of a Roman child, roundish and
pretty, with long hair ; of commonplace workmanship. Pupils and
eyebrows expressed. The bust shape seems to have been arranged
subsequently. New : tip of nose. Life size. [*]

For the sarcophagus mentioned by Dallaway, no. 18, cf. under
" Penrice Castle."

In the Tower there stand, in addition to the sculptures, two
painted vases {Arch. Zeit., 1874, p. 51) :

16. Hydria, 0-44 high, with black figures. On the principal
field the departure of a youth on a quadriga ; on the neck a battle
scene ; below, a Seiren between two figures in cloaks.

522 NARFORD HALL. NEWBY HALL.

17. Amphora with red figures, of beautiful style, but ordinary
execution. On both sides a procession (kuJ/aos) of four men in all,
one of whom plays the flute.

NARFORD HALL (Norfolk).

The apparently inconsiderable collection of antiques which is to
be found at this country seat of the Fountaine family appears to owe
its origin to Sir Andrew Fountaine, the celebrated connoisseur
(1675—1753), who travelled in Italy at the beginning of the last
century (cf. Introd. § 33). Pulszky {Arch. Am., 1854, p. 472) de-
scribes a consular diptychon, of the middle of the fifth century,
A.D., unedited.

NEWBY HALL (Yorkshire).

Dallaway, pp. 3490". (11. pp. 97ff.). Clarac, iii. p. 62. Matz,
Arch. Zeit., 1873, pp. 22 ff. Michaelis, ibid., 1874, pp. 51 ff.
Athenaeum, Nov. 16, 1878, pp. 630 f. (The author of this article
has partly made use of a memorandum written by me and sent to
Lady Mary Vyner.) I visited the collection in the autumn of 1873.

Newby Hall is one of the estates belonging to the Grey family
and is situated nearly three miles south of Ripon. The collection
was made by William Weddell, Esq., who visited Rome about
A.D. 1765, and employed his leisure there in collecting antiques. In
the export warrants {kttere dipasso) from the papal chamberlain's office
are specified under dates March 27, April 15, and May 17, 1765,
19 chests full of antiques and besides them the Venus (no. 20) as
exported by Giov. Dick, British consul in Genoa, and Guglielmo
Weddell (Gori, Archivio Storico etc. di Roma, 11. p. 216). Towards
the close of the last century Weddell died and left the collection
to a nephew. Lord Grantham, who was then a minor. From him
it came to the Earl Grey, and then to the present possessor, Lady
Mary Vyner, the daughter of Lord Grey. The antiques are
placed in three rooms built especially for them ; a square room at
either end with a small cupola room between, which opens with a
little portico into the garden. These rooms are decorated in the
taste recognised as antique towards the close of the last century.
The sculptures arc still nearly all in their original positions. Lhifor-

XKWIiV IIAI.I, I, 2, 523

tuiuitcly, Mr Wcddcll, dyini,' suddenly, left no memorandum as to
liow he obtained the individual specimens. I am indebted to the
kinil information of the present owner for ihe completeness of the
.following catalogue, which gives the anticiucs as they are exhibited
now.

FIRST ROOM.

I (on tiie r. near the entrance). Statue of Seilenos. Clarac,
IV. 730 1), 1765 A. Dallaway, no. 4. The old Seilenos, with a dig-
nified expression, a fillet in his hair, stands resting his r. leg (beside a
I)illar which serves only as a material support) on a mass of rock ; a
large wine-skin well filled rests on the 1. leg, and is sustained by the
god with his r. arm, while his 1. grasps the opening of the wine-skin.
The statue is a graceful composition, probably intended originally
to decorate a fountain. New : only the nose, I. hand with the
extreme edge of the wine-skin, both shins from the knees to the
ankles. H. I'oo. Similar statues are very common (see Schreiber,
Arc/i. Zeit., 1879, p. 68, note 7); one such, now in the Villa Albani
(no. 924), stood about the middle of the sixteenth century in the
garden of the Cesi Palace, in the centre of a colossal marble bowl
(now in the Torlonia Museum, no. 274; of. Schreiber, ibid., p. 65).

2. Statue of Priapos, of Pentelic marble. Clarac, iv.
710 B, 1729 B. Dallaway, no. 3. Clarac thought this was a "jeunc
Faunesse" Dallaway and Matz were nearer the mark in suggesting a
Satyr. Already Winckelmann, who saw the statue at Cavaceppi's,
had hit on the right idea, cf. his letter to Bianconi of April 30, 1763
in Fea's Storia delk arti del disegno, iii. p. 258 {Miscellanea, i. p.
CLXXXix.) : " Un Fauno, 0 Priapo giovaiie vagamente vestito da donna,
e in alio di ballarc, alzando alqiianto la lunga veslc talare con amhedue
le inani, come usano le ziielle, che modestamente ballano. Ma nel piu.
bello di volcre smentir il sesso principia a rizzarsi un Priapo smisurato,
che spinge in fuori la vesie. La figiira I di tre palmi incirca. (Cf. the
letter to Riedesel of April, 1763. Fea is in error in thinking that the
statue was ever at the Villa Albani, and there ridotta alia modcstia
spianandogli la veste.) We may see that the designation Priapos is
more suitable than Satyr, or Faun, whether we look at the feminine
drapery (cf. Jahn, i5V;vV/(/(; (/("r .frtV//^. Gesellscliaft d. IViss., 1855, pp.
236 ff. Rheinische Jahrbiuher, xxvii. pp. 45 ff.), or at the enormous
dimensions of that part of the body which is most characteristic in
the demi-god of Lampsakos, and v.hich here strongly distorts the

524 NEWBY HALL 3 — 6.

folds of the drapery. Nor does the head, which Clarac and Matz
considered as belonging to the figure, though decidedly of the Satyr
type, belie the explanation ; as the whole neck is an insertion, and
the head, although it is also of Pentelic marble, shows a somewhat
different quality (having blackish stripes), and is rather too large for
the body. New : both arms and both legs from below the draper)'.
H. abt. 060. [*J/]

3. Group of Dionysos and a young Pan. Clarac, iv.
693, 1632 A. Modern. [*]

4. Statue of a Roman youth. Clarac, v. 966, 2486 A,
" Geta pre'tendu." Dallaway, no. 10. The youth wears a tunic and
toga and round his neck a bulla. There is no foundation for the
title Geta. New : both arms from the drapery onwards. [J/]

5. Statue of Ganymedes. Clarac, iii. 410 B, 704 A. Dalla-
way, no. II. This is a modern copy of a beautiful torso in Florence
which Benvenuto Cellini has restored as a Ganymedes, Uffizi, no.
308, copied with sides reversed in Clarac, iii. 408, 704. [■']

6. Statue of Aphrodite, the so-called " Galatea." Clarac,
IV. 628, 1364 A. Dallaway, no. 12. The figure, which is very
delicate and graceful in movement, is balanced on the r. foot,
while the 1. is drawn somewhat far back. With her 1. arm she
supports herself on a dolphin, which has a small Eros on its back
and is plunging in the sea, holding a fish in its mouth. This accessory
and the undoubtedly Venus-hke character of the head, which in the
copy at Ince (no. 36) is crowned with a stephane, convince us that
this is an Aphroditfe, in spite of numerous other suggestions (Galatea,
Nereid, etc., cf Bernoulli, Aphrodite, pp. 375 ff.). The arrangement
of the drapery is a little too artificial, it covers the whole of the
lower part of the body, is held fast under the hollow of the 1.
shoulder and then drawn up over the head, from which originally
an end of the drapery fell down again to the r. breast (cf Ince,
no. 36). The numerous copies of the statue testify to its celebrity
(Bernoulli, pp. 372 ff.); in none of them unfortunately is the r. arm
preserved. In the copy at Ince the snout of the dolphin is per-
forated, showing that the whole piece was intended for the adorn-
ment of a fountain : undoubtedly that was the original intention.
The lissom form of the goddess inclined gently forward, her head
bent down, and a smile on her face that is rather at delight in her-
self, than of a sensual character, combined with the artistic arrange-
ment of the drapery — all perfectly suit the goddess of gracefulness
looking at herself in the water and rejoicing in her own charms.

NF.WIiV IIAI.I, 7—9. 525

The invention does much honour to the Hellenistic period (of. Frie-
derichs, Baustcinc, no. 596. Hettner, Bildw. zu Dresden, no. 88).
That the head belongs to the statue is shown by the direction of the
folds on the back of the neck. New : nose and chin, all the r. arm
and shoulder, r. breast and the corner of the veil grasped by the
hand, the 1. forearm and a part of the dolphin's tail, the r. foot wth
part of the pedestal, and finally Eros' nose, great part of both wings,
his r. foot and the lower part of his 1. leg. The preservation of the
rest is good ; the execution rather commonplace. Coarse-grained
Parian marble. H. 1-25. [*il/]

7. Portrait statue ("Epikuros"). Clarac, v. S44, 2128. The
motive is similar to the Demosthenes in the Vatican (cf Knole, no.
i), but the statue is certainly not the great orator. The antique
head, which no doubt belongs to it, has a long beard, elderly features,
and a calm expression, not at all resembling the well-known counte-
nance of Demosthenes. The designation Epikuros current at Newby
is also very doubtful, but not so improbable as Clarac's suggestion
that the statue represents Chrysippos. New : the whole of the r.
forearm, half the 1. forearm with the roll, the feet from below the
draper)', the scrinium. H. i'i8. [*i1/]

8. Triangular pedestal. Cavaceppi, Race, iii. PI. 53. This
pedestal was early copied by draughtsmen ; in Cod. Coburg., no. 76
Matz = Cod. Pigh., no. 96 Jahn ; on two sheets at Windsor (Dal
Pozzo collection, vol. vii. 54, 55), the sides a and b are drawn. On
each of the three sides is a figure moving to the r. : {a) a Maenad,
nearly nude, with a tympanon ; (1^) a Satyr blowing a flute ; {c) a.
Satyr with pedum and outspread nebris. These figures as well as
the other ornaments often reappear on such decorative monuments.
It is a specimen of the so-called Neo-Attic art, with unusually flat
treatment of the relief Pentelic marble. [*yl/]

9 (on no. 8). Colossal head of Herakles. Dallaway, no. 14.
It is of the Famese type, most nearly related to the head at Basle
{Mon. delP Inst., viii. PI. 54; cf. Anc. Marhl. in the Brit. Mus., i.
PI. 11), but belongs apparently to a somewhat earlier period: the
expression is calmer, more moderate, with a look of thoughtfulness
rather than of pain ; the beard is rounder, the curly short hair lies
closer to the head. Nose and forehead are powerfully developed,
the ears resemble those of a pankratiastes. The original movement of
the head cannot be determined, as the head itself has been broken
short off near the beard, and the neck is new. A narrow, plaited,
rather flat fillet passes through the hair. New : upper part of head,

526 NEWBV HALL 10— I 5.

tip of nose, parts of r. ear and of r. eyebrow. L. of face, including
the beard, 0-28, from the part where the hair begins to tip of nose,
0-155. Greek (Parian?) marble. Good, but not particularly fine
work. [*M]

IN THE DOORWAY.

10, II. Two urns.

SECOND ROOM.

12 (by the garden door). Head of Minerva, in Parian marble,
the casque and back part of the head restored. Dallaway, no. 16.

13. Female draped statue. Clarac, v. 888, 2274O. Dalla-
way, no. 9, " Faustina." In all essential parts the statue is antique :
so is the head with the wavy hair that has been joined on to it, but it
is not at all certain that this head originally belonged to the figure.
Over life size ; conscientious but uninteresting work. [*]

14. Colossal bust of Zeus. The most striking point about
this most peculiar head — which deserves that a good copy should
be made of it — is that it conveys the impression of mild resignation,
verging on sadness. The lips are gently parted ; the small eyes are
very deep set, particularly at their inner angles, and framed in
strongly marked lids (the lower lid resembles that of the Famese
Hera, Afofi. dell. Inst., viii. PI. i) ; on the lower part of the forehead
are broad and somewhat strong protuberances ; the hair over the
forehead, an interlacing, tangled mass of curls, slightly shades the
brow. The hair, which once fell on the shoulders, the mustaches,
and the beard, which gets narrower towards the bottom and then
ends straight, hang down heavily and so serve to strengthen the
above-mentioned impression. Right across the forehead is a narrow
furrow. A fillet passes round the hair. The peculiarly beautiful
original, which was the source of this clearly modernised copy, can
hardly, to judge by the character of the expression and the very
free treatment of the hair and beard, belong to a period anterior to
the fourth century, b.c. ; in fact the development of the forehead with
its marked protuberances might seem to indicate an epoch even
later than the younger Attic school, did not the general expression
militate against the assignation of so late a date. New ; neck, nose,
part of mustaches, the back of the head and the curls on it. Pen-
telic marble. H. of the antique part o'36. L. of face o'22. \*M'\

15. A bust.

N'KWIIV HALT. l6 — 30. 527

16. Statue of a nude male figure. Clarac, v. 869, 22 10 A,
" Gladiateur." Dallaway, no. 8, "Brutus." New: neck, r. hand with
dagger and 1. arm. The thin head of true Roman type, with short
hair and beard, is antique but does not belong to the body.
Evidently it is this statue to which refers the sarcasm of H. Blundell,
JLngravings of Statues, etc. at Jnce, vol. i., preface: "a Torso .... by
placing on it an austere head, and restoring the arms with a dagger
in one hand, became a Brutus, which was artfully contrived by Mr
Jenkins to suit certain people." [*^'l/^]

17. Bust of Caracalla. Dallaway, no. 17. "A good, but
rather roughly finished sculpture, remarkable for the energy of the
expression. New : nose." \_AthenacuiiP\

18. Statue of a Muse. Clarac, iii. 503, 1002 = 538 A,
1002 A. Cavaceppi, Race, i. PI. 30. Dallaway, no. 5. The grace-
ful figure, robed in a chiton with sleeves and a cloak which conceals
the 1. arm and the legs, is sitting in a simple attitude of repose, rest-
ing her foot on a footstool. The body is of Pentelic marble. The
head, of Parian marble, has been re-set, but is no doubt that of a
Muse. The hair is encircled with a fillet and gathered up into a
knot. New : 1. hand and forearm from the drapery, r. forearm and
elbow, with the flute, a piece let in to the 1. knee, the four larger toes
of the 1. foot. Work of decorative style, but not bad. H. 1-22.

19. Bust of Septimius Severus. "An expressive and
characteristic work, and a good specimen of its time. New : nose
and fore-locks." \Athcnacum'\

20. Statue of Aphrodite. Clarac, iv. 622 B, 1394. Spec,
II. PI. 13. Dallaway, no. i. "The Venus" is rightly regarded as
the grandest specimen of the collection: it is one of the best ex-
amples of the type of the well-known Medici Venus (see Bernoulli,
Aphrodite, pp. 222 ff.), and therefore requires no description. The
peculiar ornaments of this copy are an armlet on the upper part of
the 1. arm, adorned all round with dolphins, and a slender vessel in
the form of an alabastron, on the top of which lies a flat shell. This
vessel is entwined by a heavily laden vine, about which two little
Erotes are climbing gracefully, plucking grapes, and a third (much
smaller) is collecting apples into a basket at the foot of the vine.
Grapes are hanging above over the edge of the vase. The history
of the statue is very remarkable; it is given by Dallaway (/. cit.,
cf J. Nichols, Illustrations of the Literary History, in. p. 278.
Dallaway, Of Statuary, p. 345) after the accounts of Pacili and

528 NEWBV HALL 20.

Hamilton ; by Heyne {Antiquar. Aufs., I. p. 140) after that of Casa-
nova {Discorso sopra gli antichi, p. xxi.) ; and is alluded to by
Winckelmann in many parts of his works (cf. Werke, 11. p. 205 =
Nachrichten, p. 38, and the letters to Wiedewelt of May 24, 1764,
to Riedesel of June 23, 1764, to Fuessly of June 19, 1765, to
Schlabbrendorf of June 22, 1765). Winckelmann calls the statue
the "Jenkins "Venus." From these authorities it appears that Gavin
Hamilton discovered the statue in the cellars of the Barberini Palace,
and in point of fact, an inventory of the Barberini Collection com-
piled in 1738 enumerates among the marbles placed in the ground-
floor of the palace " una statua al naturale rappresentarite U7ia Venere
nitda con tronco a' piedi, con diversi putti di bassi rilievi, iiva e frutti...
stimata scudi trecento'" {Docutn. ined. per servire alia storia del
Musei d' Italia, iv. p. 48). Hamilton gave the statue to the sculptor
Pacili in exchange for some other marble. By Pacili it was re-
stored; a head was added, and unfortunately the whole body was
smoothed over, and it was then sold to Jenkins for 1000 scudi. Ac-
cording to another account, Jenkins bought the statue for a hundred
sequins of Hamilton direct, while it was still without a head, and
had it restored by Cavaceppi. Any way Jenkins brought the statue
to light with its new head in 1764, without stating where it had been
discovered ; and asserted, as we learn from Winckelmann's first
letters, that it had been found intact. In 1765 Weddell bought the
statue of Jenkins according to Casanova for 16,000 scudi (about
^^3,500), according to Heyne for ;;£'6,ooo; Dallaway gives the
purchase money at a different figure, and makes it, including the
cost of transmission to England, more than _;£ 1,000, or, as he says
in another place, ;!{^i,5oo. A story is current at Newby, that with
regard to the price inviolable silence was promised and observed
on both sides ; this circumstance would account for the enormous
difference of the above-given sums. In Winckelmann's last two
letters the King of England is spoken of as the purchaser, but such a
statement was only a blind of Jenkins, or of Mr Weddell's agent, to
ensure the export of the valuable specimen from the papal govern-
ment. Last, not least, it is a fact that according to the characteristic
Roman way of carrying on this trade in art, the custom-house au-
thorities were conscientiously informed of all repairs so carefully
hidden from the buyer, so as to lessen the duty on the permission
to export the treasure ; the value of which was then only assessed at
300 scudi, the same figure which had been set on it in the Barberini
inventory (cf. the entry in the Chamberlain's Office registers as pub-

NEWBY IIAI.L 21—23. 529

lished in Gori's Archivio storico i5>v. di Roma, 11. p. 216: "1765,
17 magi^io. Gio. Dick per una stalua di marmo alia palmi 7,
figurante Venere del tiitto niida, di ottima maniera greca, con testa
riportata tion sua, braccia, gamba dritta, e piedc sinistro, con I'intiera
base di moderno laioro ; stimata scudi 300 "). Parts really new : a
small portion of the curls, the r. arm from above the armlet, the
1. forearm with the elbow, a piece of the 1. half of the nates, the
lower half of the r. leg, the two first toes of the 1. foot, small de-
tails on the Erotes, the outer edge of the pedestal. The head, of a
decidedly Venus-like character, but of less coquettish expression than
the Medici Venus, is of a whiter marble than the body ; the face
is much rubbed down, so that the eyes have almost lost their
form (tip of nose new). The hair, even beyond the ribbon, has
been left nearly untouched, but almost all the rest has been en-
tirely worked over, which fact confirms Dallaway's assertion that
a veil was originally over the head, and has been chiselled away.
There are holes in the ears as if for an ornament. The torso
with its fresh, virginal bosom and neck is the most beautiful part of
the statue ; the hips, not too prominent, quite suit the body ; the
back and the legs are graceful, but they have not the same finish.
There is a fine contrast between the yellowish, smooth body of the
goddess (though it be now somewhat too smooth) and the dull sur-
face of the marble vase. This is not at all re-worked ; the assertion
at page 17 of the Specimens that the front of this vase has been
restored, is quite a mistake. The marble is Parian of the most
beautiful quality. H. i'63; without the pedestal i '55. [*yl/]

21. Bust of a Roman lady, "having a fine portrait-
like aspect. Very good. New : cranium, and back of the neck."
\Athenaeum^

■2.1. Bust of Caligula as a boy, tolerably good. \^M\
23. Statue of Athene. Clarac, iii. 462 A, 888 B. Spec, 11.
PI. ■^'A. Dallaway, no. 2. The slender form of the goddess rests on
the r. leg ; a cloak which lies on her 1. shoulder falls round her
hips and thighs in handsome folds ; only at their upper edge,
especially on the 1. hip, the folds are too crowded. The narrow
aegis, which has too formidable a complication of snakes, goes
slantwise from the r. shoulder across the r. breast down to the 1. hip.
The r. arm, adorned with a bracelet, is advanced, and although it
has been broken in two places, it is undoubtedly anticjue (not new,
as has been asserted in the Specimens). In her outstretched palm
the goddess holds a jiretty little owl. The statue is carefully and
M. C. 34

530 NEWBY HALL 24.

freshly, though not very delicately, executed ; it is of Thasian marble
of very beautiful quality, whilst the head, which is too small for the
figure, is of Parian marble. A story, characteristic of Nollekens and
related by him, proves that in fact the head did not originally belong
to the body (J. Th. Smith, Nollekens and his times, 1. pp. 11 f ) :
"Jenkins... had been commissioned by Mr Locke, of Norbury Park,
to send him any piece of sculpture which he thought might suit
him, at a price not exceeding one hundred guineas ; but Mr Locke,
immediately upon the receipt of a head of Minerva, which he did
not like, sent it back again, paying the carriage and all other ex-
penses. Nollekens, who was then also a resident in Rome, having
purchased a trunk of a Minerva for fifty pounds, found, upon the
return of this head, that its proportion and character accorded with
his torso. The discovery induced him to accept an offer made by
Jenkins of the head itself; and two hundred and twenty guineas
to share the profits. After Nollekens had made it up into a figure,
or, what is called by the vendors of botched antiquities, ' restored
it,' which he did at the expense of about twenty guineas more for
stone and labour, it proved a most fortunate hit, for they sold it for
the enormous sum of one thousand guineas t and it is now at Newby
in Yorkshire." (Dallaway, Of Statuary, p. 346, says ;^7oo.) The
head is superior to the body ; the delicate, sharply chiselled face has
not been touched, but the hair has been entirely worked over. On
the helmet are two holes for the plume. In the body the marked
projection of the r. hip strikes us as unusual for Athent;, as also are
the very long legs, the upper part of the body seeming rather small
and insignificant. New : neck, 1. forearm and spear, some of the
snakes of the aegis, the forefinger on the r. hand and the tips of the
two next fingers, and finally part of the 1. wing of the owl, which is
very nice with its full head. The r. hand is pretty, but Clarac is
extravagant in his admiration when he styles it " la plus belle main
antique que je c07inaisse." H. i-8o, with the pedestal i'88. An
exact replica in bronze, about 0-20 high, is to be found at Erbach in
the Odenwald, Hesse; it has a similar head, with the so-called
Corinthian helmet ; the 1. arm is lowered and holds no lance, but the
fingers of the hand are bent in a right angle and directed towards
the thigh, as if something had been held in the hand. [*J/]

24. Head of Alexander, of pavonazzetto marble. Dallaway,
no. 18. Modern. \M\

NEWBV HALL 25—28. 531

PORTICO FACING THE GARDEN.

25. Colossal female head, akin to heads of Aphrodite,
reminding one a little of the colossal head, Brocklesby, no. 15. There
is much in it to suggest good though already partially degenerate
Attic art. Forehead high, and surrounded by simple but beautiful
wavy hair (like that of the Amazon statues), cheeks and chin round
and broad, eyes comparatively small, lips unpleasantly full, neck
powerful. Nose only restored. [*M]

26. Colossal female head. Not in such good preservation
as no. 25, for only the neck and face are old, and the rest of the head
new; the nose also is new. It has, like no. 25, large cheeks and
chin, but the mouth and the expression of the eyes are more grave,
and this harmonises well with the form of face, which is better defined
and less indistinct than the other. The effect is heightened by a
turn to the r. given to the head. I cannot venture to suggest any
certain designation, [*M]

IX THK noORWAV BETWEEN THE SECOND AND THIRD ROOMS.

27. Statue of a boy. Clarac, v. 877 A, 2240 B. Dallaway,
no. 7. Leaning the 1. arm on the trunk of a tree, stands a boy, with
his legs crossed, a small cloak thrown over his arms and back ; the
restorer has probably been right in putting a flute in his hands. An
insignificant work. New : head and neck, lioth hands with the flute,
r. leg, three parts of the 1. leg, the lower half of tlie trunk of the tree,
and the pedestal. H. 0-64. [*]

28. Terminal figure of Eros. Cavaceppi, Jiacc, i. PI. 40.
Clarac, iv. 639, 1448 B. Miiller-Wieseler, 11. 56, 719. The body of
the boy is so effeminate in form, particularly about the r. breast, that
the figure was mistaken either for that of a female (Winckelmann,
Afon. ined., 11. p. 264, Cavaceppi), or of Hermaphroditos (Winckel-
mann's letter to Bianconi of March 26, 1763 in Fea's Storia, iii. p.
2^6 = Mistre//., I. p. CLxxxviii., Clarac, Wieseler); Matz was quite
right in recognising in it an Eros. New : head and neck, both arms
with their respective attributes, the wings excepting a stump of the
r. one, and part of the terminal pillar. A tolerably large skin is
thrown from the 1. shoulder slantwise across the breast. The torso,
which is antique, is delicate and pretty, and the free turn of the
body as it springs out of the pillar, which shows an indication of
the two legs, is particularly graceful; the r. hip projects strongly

34—2

532 NEWBY HALL 29—33.

backwards and outwards, the 1. shoulder is elevated and comes some-
what boldly to the front, the r. shoulder inclines backwards in an
analogous manner. The usual practice of giving terminal figures
a quiet pose and accommodating them, as it were, to their stiff shafts
is here abandoned, in consequence of a freer handling which would
suit the time of Tauriskos of Tralles, whose Hermerotes stood in the
park of Asinius PoUio (Plin. 36, 33), though it is not quite un-
heard of in more ancient monuments {M071. ined. dell' Inst., x. PI.
57, i). A somewhat kindred character is shewn by an androgynous
terminal figure in the British Museum (Graeco-Rom. Sculp., no. 167.
Anc. Marbl, x. PI. 30. Miiller-Wieseler, 11. 56, 708), which is how-
ever by no means so fine. According to Winckelmann's letter the
marble appears to have been discovered in the year 1763 {" (In altro
inglese domiciliato iii Roma [Jenkins? Hamilton?] ha avuto la sorte
di trovare un Termvie," &c.). H. from the crown of the head to the
pubes 0.58. [*J/]

THIRD ROOM.

29. A bust.

30. Bust of Augustus. Dallaway, no. 15.

31. Child's sarcophagus. Dallaway, no. 22. A room is
represented by means of a curtain, and in it seven boys, all draped,
are playing with nuts (cf Ince, no. 247 a). Two of them have just
fallen out, and a third is going to interfere in the quarrel ; the others
are looking on, except one, who is still playing alone. On the
extreme r. is a terminal figure. R. end. One boy has his lap
already very full of things, and another boy is trying to put some
large object into it. To the r. is an arch of freestone. L. end.
A nude boy, looking round, is trying to rob another boy clad in a
tunica of eggs or nuts from his apron. On the 1. is an arch. The in-
vention is almost throughout most graceful and simple, and except for
a general polishing, the whole is in an excellent state of preservation.
Below, a Lesbian kymation runs along. L. 0-96. H. 0-30. D. o'44.
[^From a dra^oiiig made for the German Archaeological Institiife.']

32 (on no. 31). Statuette of a barbarian. Clarac, v. 854,
?i6i B. Black marble, nude parts of white marble. Modern. [*]

33. Statue of Apollo. Clarac, in. 476 B, 906 D. Dallaway,
no. 6. The youthful god is standing with his legs crossed, his left
arm leaning on the trunk of a tree, his r. hand behind his back.
New : nose, part of 1. leg, almost the whole of the arms, and nearly
the whole of the trunk. The head has been re-set, but Clarac

NEAVnV HAIL 34. 533

considered that it belonged to the statue, ^^uch broken and
touched up. Very ordinary work. H. fi6. [*]

34. Oval child's sarcophagus, with Bacchic scenes sculp-
tured all round in the followins; order.

In the front between two lions' heads is a rciirosentation that
reminds one strongly of the celebrated Casali sarcophagus (Vis-
conti, Mus. rio-C/cm., v. PI. C. Miiller-Wieseler, 11. 37, 432).
(a) Dionysos and Ariadne are sitting together on a rock. Dionysos,
half draped, holds in his left hand the thyrsos, and his right on his
head; a panther lies at his feet. Ariadne, in cloak and chiton
and the nebris across her breast, has a tympanon, ornamented with
the head of Seilenos, in her left hand. Both are looking down at a
Nvrestling match in which Eros is getting the better of Pan (cf.
Welcker, Zeitschr. f. alte Kimst, i. pp. 475 flf. Friedlander, Aiuiali,
1856, p. 34). Beside Ariadne is a Satyr with his right hand upraised ;
beside Dionysos old Seilenos and a second Satyr. Below the lions'
heads may be seen, (/) to the 1. a youthful Satyr extracting a thorn
from Pan's foot, {b) to the r., Eros, playing with a lion; then on
each side comes a pedestal with a mask on it. There follow to the
r. {c) two Satyrs and a Maenad in lively motion ; on the ground is a
mangled fawn, a cista, two panthers; (e) to the 1. two Maenads and a
Satyr, who has rough hair and beard, a wreath round his breast,
and is dancing over a cista, out of which a snake crawls forth.
{d) In the middle of the back is a procession moving 1., in the van
of which we sec an elephant, led by a Satyr; the first of the panthers
mentioned above ic) is playing with its trunk. Then comes a dancing
Maenad ; then a carriage drawn by a young and an old Centaur, the
old one defending himself with a torch against an Eros who has
sprung on his back with a torch and is teasing him ; a panther is
running along below the Centaurs. Dionysos lies at full length in
the carriage ; at his feet stands a woman nearly nude, with a sceptre,
to whom an Eros is talking. A tree forms a barrier here to the
bearded Satyr (<•). This sarcophagus is very rich in excellently in-
vented scenes. Unfortunately it has been injured by water and
much restored in details. T-. 1-50. H. 0-43. \From a drati<ing
made for the German Archaeological Insiitute.\

534 NEWBY HALL 35—43.

35. Statue of a poet or a philosopher in sitting pos-
ture. Clarac, v. 903, 2304 A, " Mariiis pi-ttendu." He sits as
comfortably in his chair as does the Menandros of the Vatican
{Miis. Pio-Clem., iii. PL 15), and only differs from him in the
movement of the 1. arm and the want of a chiton. New: head
and neck, three parts of r. arm, half the 1. lower arm (a small portion
of the roll is old), r. foot from the ankle, three of the legs of the
rhair. Fresh, but not delicate work. Pentehc marble. H. 0*53.

36. Bust, of basalt.

37. Large tub, of pavonazzetto marble, with fluted (modern ?)
cover shaped like an inverted basin of the usual double curvature.

Probably a bath. Dallawav, no. 21. Cf Athcnacurn, Nov. 16, 1878,
p. 631. [J/]

38. Bust, of basalt.

39. Tripod with a cauldron. In the inside of the cauldron
may be seen a flat omphalos wrapped round by the usual woollen
fillets and entwined by the Pythian snake. The omphalos is almost
entirely new, but the restoration is certain. Under the cauldron is
a round, massive support, richly ornamented, on which four feet are
executed in reUef On Mr Weddell's tombstone in the cathedral at
Ripon is represented this four-footed tripod, which he appears to
have considered as a conspicuous ornament of his collection. [*J/]

40 (on no. 39). Ibis, the size of life. Cavaceppi, Race, i.
Pi. 50. Dallaway, no. 13.

41. Triangular pedestal. Cavaceppi, Race, i. PL 4 ; drawn
already in Cod. Coburg., no. 70 Matz. (a) Woman with stephane,
holding sceptre and shield, sitting ; upper part of body nude. (/')
Victoria placing a helmet on a tropaeum. (A drawing of b is also
in the Dal Pozzo collection at Windsor, vol. i. fol. 88.) {c) Victoria
with a palm branch and her r. hand upraised. The style of b and c
is an unpleasant, artificial archaism, the work not nearly so good as
that of no. 8. Pentelic marble. On this pedestal is placed Weddell's
bust by Nollekens. '\^M\

42. Bust of Lucilla.

43. Bust of a negro, of basali.

M;\V11V IIAI.I. 44—49. OSBORNE I, 2. 535

I'ICTURi; CAI.I.ERV.

44. Head of a Roman boy. Dallaway, no. 19. [A/]

45. Head of a Greek maiden, connected with the so-called
Sappho heads. Inferior work. Dallaway, no. 20. [M]

P.ASSAGE.

46. 47. Two statuettes of barbarians. Clarac, v. 854,
2161A, C. Two barbarians in chiton, hose, and cloak, standing.
No. 46 is o-8o high ; — new : head and 1. forearm. No. 47 is o'S4
high ; — new : head and both forearms.

ENTRANCE HALL.

48, 49. Two small reliefs, mentioned by Matz, p. 24. They
arc modern. [*M]

OSBORNE (Isle of Wight).

Catalogue of the Paintings, Sculpture and othci- 7vorks of art at
Osborne, London, 1876.

I have to thank Mr Doyne C. Bell, the author of the above-
mentioned Catalogue printed for the private use of Her Majesty
THE Queen, for the information about the following antique sculp-
tures in Osborne, and for the permission to examine the photographs
which have been taken from them. The marbles were collected
within the years 1848 — 1854.

PRINCIPAL CORRIDOR.

1 (no. 379). Bust of "Marcellus." Life size. "Purchased
in 1854 from the Hertz collection." \Bell?^ It is not to be verified
in the catalogue of this collection (1851). The head, which appears
to be the only antique portion, has very curly hair which nearly
covers the forehead and falls low down on the neck. The glance
is directed straight in front. Eyebrows expressed. New : nose and
bust with the sword-belt and drapery. Nomenclature by no means
certain ; the head looks rather like a Satyr's Iicnd. H. o-8t. \From
a photograph.^

2 (no. 380). Statue of Aphrodite Anadyomene. Poor
\\oodcut in The Stoice Catalogue, by Henry Rumsey Forster, London.

536 OSBORNE 2.

1848, p. 44, no. 697. The goddess, who is quite nude, rests on her 1.
leg, by which a dolphin serves as a support; her r. foot is somewhat
drawn back. She is arranging her long hair with both hands; her r.
shoulder is a good deal elevated and the 1. lowered, the 1. forearm
however is raised. The head glances away towards the r. side of the
figure. The hair is even too abundant. The movement of the
figure is graceful and refined, but the work is said not to be of cor-
responding beauty. Unfortunately it is not easy to pronounce with
certainty on the restorations from the photograph. Both legs have
been broken close under the knees and the 1. leg a second time
through the calf; the lower parts of the legs are probably modern.
There is a fissure across the upper part of the body just above the
bosom, which has the effect of making the head, the r. shoulder and
the r. arm and a considerable piece of the 1. shoulder, form a
separate piece ; whether this is only a fracture, or whether the parts
named are new, I cannot say. A great part of the 1. arm appears to
be new. One can only say decidedly that the part of the figure from
above the breast to below the knees is antique. "Found in ex-
cavating the baths of Agrippa at Rome, and brought to England by
the Marquis of Chandos [afterwards Duke of Buckingham]. After
having had the injuries it had sustained by the lapse of ages carefully
repaired, it was placed in an alcove prepared for it in the Music-
room [at Stowe]. Her Majesty the Queen, when visiting Stowe, in
January, 1845, expressed her admiration of its beauties in very warm
terms; indeed, the impression it made upon the mind of the Queen,
may be gathered from the fact that, when the melancholy news of
the fall of Stowe became known. Her Majesty commissioned Mr
Gruner to purchase the statue for her Royal Consort. The lot was
knocked down to Mr Gruner at 157 guineas. A curious story is
told of the manner in which the Prince first became acquainted with
his possession of the statue. In the Morning Post of the day
succeeding the sale, the lot was described as purchased by Mr
Gruner for Prince Albert. The announcement being observed by
the Queen, Her Majesty handed the newspaper to the Prince, and
congratulated him on having made so valuable an addition to his
collection. His Royal Highness, having taken no step in the
matter, expressed his entire ignorance of the affair ; upon which the
Queen declared her knowledge of the circumstances, and requested
her Royal Consort to accept the work as a birthday present from
herself (26th August, 1848)." [Forskr.] H. 1-37. [From a photo-
graph ^

OSliORNK 3—5. 537

3 (no. 485). Statue of Antinous, represented as an Egyp-
tian, standing in repose, his 1. leg in advance, both arms hanging
down by his sides. In either hand he holds a short staff. Round
his loins is an apron, the striped calantica conceals his hair and falls
down over both shoulders on to his breast We recognise the Bithy-
nian youth by the mighty proportions, particularly of his breast,
while his features seem to be less characteristically expressed. Be-
side his r. leg is the trunk of a palm tree. It would be very
difficult to tell from the photograph whether there have been any
restorations. The statue is very like one from Hadrian's Villa [Mtis.
Capitol., III. PI. 86. Re and Mori, Mus. Cap., 11. Sala grande, PI.
30). "Captured in 1806, by the 'Imperieuse' frigate, under the
command of Lord Cochrane, from a French vessel which had on
board a collection of curiosities belonging to the Emperor Napoleon
and King Jerome Bonaparte. This vessel was taken into Gibraltar,
and the cargo sold by auction. Some Gibraltar merchants, who were
under obligations to Mr George Ward, of Northwood Park, Isle of
Wight, purchased it and sent it over to him as a token of their
gratitude. At his death it became the property of his son, at the
sale of whose property, in 1S50, it was purchased by the Queen."
\Bdl.\ Grey marble (^/^/o). H. 170. [From a photograph.']

4 (no. 488). Female head, probably Bacchic ("Flora"). New :
nose and bust ; in fact the whole work is not free from suspicion.
A broad fillet passes across the forehead and disappears in the hair,
which is very curly and all brushed back. The hair is divided by
several deep partings, and in these partings have been left, unusually,
numerous pieces of marble to hold them together. On the very top
of the head is a wreath of flowers. Pupils expressed. The face is
feeble and much rubbed down. Purchased by the Prince Consort
in 1S54. H. 0-50. [From a photograph.]

5 (no. 516). Statue of crouching Aphrodite, in the well-
known attitude. The r. arm is elevated high, the 1. lowered but
then raised from the elbow-joint, and both hands are grasping her
abundant hair. The figure does not appear to be a particularly good
copy. The whole of the pedestal, both feet, r. arm, 1. forearm, and
even a portion of the hair are certainly new ; the head appears to
belong to the body but is by no means remarkable as regards ex-
pression. Purchased by the Queen in 1854 from the Hertz collection
{Hertz Catal., p. 152, no. 8, "Parian marble"). H. 072. [From a
photograph^

538 OSTERLEY PARK. OXFORD.

LOWER CORRIDOR.

6 (no. 884). Bust of Lucilla. Small life size. The name
appears to be correct. Hair very wavy. Pupils expressed. Pretty
little head; nose and bust have apparently been restored. Purchased
in Rome by Mr Gruner in 1854. H. 0-38. \^From a photograp/t.'\

OSTERLEY PARK (Middlesex).
Waagen, Treas., iv. p. 270.

Osterley is a country seat of Lord Jersey, near Hounslow and
north-west of Richmond. In the Entrance Hall of the mansion
Waagen found the following specimens:

1. " A Torso of an Athene, in Parian marble. Originally of
tolerably good workmanship, but now defaced by retouches and
restorations."

2. " Torso of another female figure, also in Parian marble,
and of good workmanship, but in no better preservation than the
foregoing."

OXFORD.

H. Prideaux, Marmora Oxoniensia, Oxf. 1676, fol. (Maittaire,)
Marmora Anmdel/iana,'LonA. 1732, fol. (R. Chandler,) Marmora
Oxonietisia, Oxf. 1763, fol. (cited by the numbers, not by the plates;
wherever no Roman number is prefixed, the reference is to the first
part). Catalogue of the several pictures, statues and busts in the Picture
Gallery, Bodleian Library, and Ashmolean Museum, at Oxford,
Oxford, 1779. Volkmann, Reisen durch England, in. pp. 27 ff.
Dallaway, Anecdotes, pp. 245—263 (i. pp. 272—295). Spiker, Reise
durch England, I. pp. 22 ff. Waagen, Treas., in. pp. 5° ff- Conze,
Arch. Am., 1864, pp. 167 ff. Huebner, Arch. Zeit., 1866, pp. 302 f
I examined the collections in 1873 and 1877.

The University of Oxford owes the first elements of its collection
of antiquities to the famous John Selden (d. 1654), who bequeathed
to it his hbrary and nine sculptures, which came mostly from
Smyrna and of which eight are ornamented with figures. Then fol-
lowed the gift of Henry Howard, afterwards Duke of Norfolk, who
in 1667 presented all the inscribed marbles still remaining of the
Arundel Collection (Introd. §21). Most of these came in like manner

OXFORD. 539

originally from Smyrna and the adjacent islands and towns ; an
account of an important portion of them had already been pub-
lished in 1628 by Selden (Marmora Ariindelliaua, Lond. 1628, 410).
Smaller gifts of individual specimens, especially of inscribed stones,
were afterwards added by different persons connected with the Oxford
University. An account of the collection as it stood in 1676 was
published by Prideaux, and the sketchy treatment of it by Maittaire
(1732) was limited to the same specimens, although in the mean
time the well-known traveller, George Wheler, soon after his re-
turn from Greece (1676), had presented some inscriptions that he
had brought back with him, and had afterwards added to these a
considerable number of reliefs. Most of these marbles came from
Athens, where they had in fact been already collected by Consul
Giraud {y\\\€i&x, Journey, pp. 399 — 407). A further addition to this
division of the Oxford antiquities was made by Henrv Dawkins,
who presented the collection made abroad by his brother
J.A.MES Dawkins, the companion of Rob. Wood in his journey to
Palmyra; then by Tho.mas Shaw, who had travelled in Africa and
the Levant, and finally by Rawlinson, who had formed his collection,
in which there was certainly a good deal of rubbish, principally at the
Kemp sale (1721, Introd. § 28) and the Oxford sale (1742, Introd.
g 30), cf Chandler, p. v. Other specimens had come to the
University by gift or purchase, of which the origin was not known.
All this collection was placed in the vicinity of the Bodleian Library
and of the Sheldonian Theatre, for about a century in the open air,
afterwards in one of the Schools. At the present day the greater part
of the inscribed marbles, either with sculptures or without, have been
let in to the walls of the Schools ; the other specimens have been
placed in the basement of the Ashmolean Museum, which is close
at hand. Quite lately some marbles from Ephesos and Syracuse,
presented by Hyde Clarke, Esq. (1866), and a relief from Perga-
mon, the gift of the Rev. J. W. Burgon (1858), have been added
to the latter Museum.

Meanwhile the Countess Dowager of Pomfret, Henrietta
Louis.\, had presented to the University in the year 1755 ^''i or
nearly all, the statues, busts and reliefs which her father-in-law, Lord
Lempster, had purchased in 1691 at Arundel House (Introd. §§ 22,
24). Lord Pomfret had employed an Italian sculptor, Guelfi, to
restore all the marbles which had not already been restored by the
direction of Lord Arundel (cf. below on no. 3), and Guelfi had done
it abominably. After this restoration they had been placed at Lord

540 OXFORD, UNIVERSITY GALLERIES I.

Lempster's country seat of Easton-Neston, where G. Vertue saw
them in 1734 (A Description of Easton-Neston, cf. above, art. Easton-
Neston). These sculptures, 135 in number, found a scanty home in
a small room of the Schools, till they were lately removed to the
magnificent University Galleries, built by Cockerell. In pursuance
of Mr Newton's advice, Guelfi's restorations have been done away
with for the most part, and therefore many specimens look essentially
different from the illustrations in Chandler's work, which were drawn
and engraved by J. Miller in a style not always true to the original, and
pubUshed by the University in 1763 as a kind of catalogue of its
entire collection of antiques. Only a few specimens in the University
Galleries have been obtained from other sources, some from the
Rev. J. W. BURGON (1858) from the collection of his father, who had
been long resident in Smyrna, and some from Chambers Hall, Esq.
■In the following catalogue come first the University Galleries with
the larger Arundel antiques of the Pomfret presentation (AP.), then
the Schools and the Ashmolean Museum, with the marbles specially
styled Arundel, bequeathed by Howard (AH.), and with various
other antiques, to which the names of the donors are affixed when-
ever they are known. Quite at the end follows the notice of a few
isolated specimens preserved in different places at Oxford.

University Galleries.
Handbook Guide for the University Galleries, Oxford, 1862, 1865.
I have not taken the specimens in the order in which they are at
present exhibited, for the arrangement is so unworthy of the treasures
that it cannot exist long, but have placed the statues first, then the
busts and heads, and finally the reliefs. If in enumerating the re-
storations, I have omitted anything or made mistakes, my excuse
must be the darkness of the apartments, particularly of the basement
rooms, and the deep dust lying on great part of the marbles.

statues.

I will begin with a number of statues, some of which are certainly
and some probably of Greek origin, and which appear to have
formed part of W. Petty's booty from Asia Minor (Introd. §§ 11, 15).

I (AP.). Female draped figure. Chandler, 25. Clarac, iv.
560 B, 1294 C, "Venus." The figure, draped merely in the simple
chiton, girdled under her bosom, is stepping with the r. foot forward,

OXFORD, UNIVERSITY r,.\T,I,ERIES 2—$. 54I

SO that round the r. leg the drapery falls in perpendicular folds.
The head is also inclined to the r. ; a broad fillet is passed through
the wavy hair. Both arms are lowered. Above the girdle a fissure
runs across, showing that the statue has always been put together
from two pieces. New: the advanced r. forearm and the elbow; the
1. arm is missing. Neck and head appear to be antique ; tip of nose
broken off. H.i-47. [*]

2 (AP.). Female draped figure. Chandler, 28. Clarac,
V. 978 D, 2524 J. The figure rests on the 1. foot; the ample chiton
falls in rich folds about her feet. A large cloak of stuff so fine that
the chiton can be seen through it, and trimmed with fringe, almost
envelopes the whole body. The 1. arm is lowered, the r. rests on her
bosom. The hair is very wavy in front ; it is encircled by a tolerably
wide fillet, and forms a plait at the back. The shoulders and neck as
well as the head have been at one time sundered from the body, but
they are antique and belong to it Missing : tip of nose, r. forearm,
1. hand and r. foot. H. 1-82. [*]

3 (AP.). Female draped figure. Chandler, 29. Clarac, v.
978 D, 2524 K. She steps slightly forwards on the r. leg, and the
head turns in the same direction. On the powerful form is a girdled
chiton, and over that an ample cloak, which covers the back and the
greater part of the legs, and falls double over the stomach. The r.
arm was raised and the 1. lowered ; the hand may have held the
cloak by the thigh. Almost the whole of both arms and the r. breast
are missing ; the feet are new. The head, which has a poor expres-
sion, is quite intact, and with the neck has been let in to the drapery;
it seems to be an addition of the restorer employed by Lord Arundel
(Introd. § 15, no. 36), and is at any rate far superior to Guelfi's
restorations ; on the head-dress must be noticed an imitation of
enchased gems, a favourite device of Renaissance and Rococo
art. In parts much scoured away. H. 2-17. [*]

4 (AP.). Female draped statue. Chandler, 30. Clarac, v.
978 D, 2524 L. The figure rests on the 1. foot ; the chiton has ample
folds, and the cloak is wide, thrown back over the 1. shoulder ; it is
carved so as to show the peculiar creases which are caused by the stuff
lying by for some time (as in the so-called Juno Cesi of the Capitol,
Mits. Capitol, III. 8). Surface in good preservation. The 1. arm
formed a right angle, the r. forearm was probably raised ; both are
now missing. Neck and head, with a stephane of unusual form, may
be ascribed to the same restorer as in the case of no. 3. H. 2'i 2. [*]

5 (.\P.). Female draped statue. Chandler, 31. Clarac, v.

542 OXFORD, UNIVERSITY GALLERIES 6 — g.

978 C, 24258. The figure rests on the r. leg in somewhat self-
conscious pose, the 1. foot steps forward. The folds of the cloak,
through which the chiton may be seen (cf. no. 2), conceal the r. arm,
which is resting in front of the body, but the I. forearm is freed from
the drapery and is raised towards the r. shoulder. Much corroded.
New: head and neck, 1. forearm. H. 2-03. [*]

6 (AP.). Female draped statue. Chandler, 32. Clarac, v.
978 C, 2402 A. The only portion that is certainly antique is the part
of the body below the bosom, which is much Uke no. 4. The upper
part of the body has been much broken, and seems to be quite new ;
there is no doubt that this is the case with the long neck and
wretched head. Arms missing. H. 2 '05. [*]

7 (AP.). Female draped statue. Chandler, 45. A woman
with her drapery girdled high up, her r. foot somewhat drawn
back. Her cloak conceals her back and legs, but not her bosom and
waist, below which it forms a twisted roll. A hollow has been
chiselled out for neck and head, but they and both arms are missing.
Cf. no. 12. Execution coarse. H. 0-84. [*]

8 (AP.). Female draped statue. Chandler, 46. This figure
is remarkable for its graceful movement and the web-like trans-
parency of the chiton {Coa vestis), which however is treated without
any exaggeration ; the 1. shoulder and the part of the bosom nearest
to it is quite nude. The cloak covers the back and legs, but leaves
the breast and greater part of the body exposed ; it is drawn up from
the r. thigh to the 1. hip, which stands out very much and on which
the 1. arm holds the drapery, thus forming a right angle. The r. arm
was raised. R. foot is somewhat drawn back. Missing : head, 1.
forearm, half the 1. foot ; the rest has been much broken. New :
r. shoulder and stump of the arm. H. 1-24. [*C]

9 (AP.). Female draped statue. Chandler, 47. She stands
on the 1. leg and the r. is much bent. The cloak conceals her
back, all the r. side of the body from below the shoulder to below
the knee, including the r. breast ; from those points it is drawn in
converging lines towards the 1. hip, forming thus a triangle in front
of the body, and is there fastened under the 1. arm. Thus it can be
seen that the chiton has an over-fold which falls down as far as the
1. hip. The folds of the chiton can be seen through the cloak, the
material of which is fine (cf. no. 2). The arms were lowered, but
they and the head are missing. Coarse work, like that of no. 7.
H. i-io. [*]

OXFORD, UMVF.RSITV GALLERIES 9. 543

These nine female figures all belong to the same style of art,
and correspondingly, are all made of the same species of Greek
marble. The workmanship of them is superficial, but the treatment of
the drapery, sometimes delicate and always fresh, is most pleasing, and
forms a strong contrast to the insipid uniformity of Roman decorative
sculptures. The different character of the perpendicular folds of the
ample chiton and of the slanting folds of the fine, transparent cloak,
which are treated in such an effective manner, is particularly well
carried out (cf the terracotta figure in Naples, Clarac, in. 420 A,
727 A). The proportions are mostly somewhat long, the middle part
of the body very massive, the upper part short and narrow ; in com-
pensation the postures are easy and good. There is a peculiarity
about the pedestal, which is an ex'ceedingly low, irregular plinth,
following in shape the edges of the drapery and the position of the
feet, and is not smoothed ; the statues were evidently intended to be
placed on some separate pedestal with architectural mouldings. We
observe the same peculiarity in statues from Asia Minor (London,
South Kensington Mus., nos. i, 2), whence I suppose Petty may
have obtained our statues too (cf. Introd. § 11). They are examples
of the later Greek art (possibly of the last centuries b.c) of Asia
Minor and her adjacent islands, more akin to Greek terracotta figures
than to Roman marble statues; though Dallaway (p. 260) simply
mentions them as " Roman Ladies " (see the note referring to nos.
43 — 45). Exactly similar in composition and feeling for style are
the women on the reliefs of certain sepulchral monuments from
Smyrna (cf. nos. 89, 90, 204, 205). At one time there seem to
have been more statues like these belonging to the Arundel Collec-
tion, for on the occasion of Lord Petre's excavation on the bank of
the Thames in Kennington (Introd. § 22), "they discovered six
statues, without heads or arms, lying close to each other ; some of a
colossal size, the drapery of which was thought to be exceeding fine.
When they were taken up, I was surprised to find sticking to some
of them a small sort of conical Babani, which convinced me they
must have formerly lain in the sea [cf. Introd. § 11].... These
trunks of statues were soon after sent down to Worksop, the seat
of his present Grace the Duke of Norfolk, in Nottinghamshire, where
they at present remain." Thus writes, in 1757, James Theobald in
Ch. Howard's Historical Anecdotes, London, 1769, pp. 104, 105 ; the
mansion of Worksop Manor was burnt to the ground with all its
contents in 1761 (Volkmann, Rciscn, in. p. 423).

544 OXFORD, UNIVERSITY GALLERIES lO — 13.

Somewhat resembling these statues, yet differing from them in
many points, are a number of other statues (10 — 15) all of which
we may also consider with tolerable ])robability to be of Greek origin.

10 (AP.). Female draped figure, from a fountain. Chandler,
5. Clarac, iv. 634 D, 1294 A, "Venus." The figure, resting on the
1. foot, with the r. leg drawn back, is robed only in a chiton of
the finest, most transparent stuff, which almost entirely clings closely
to the body. The few folds which come forth on the projecting parts
of the body, thus seem all the sharper and higher, rising as they do
to sharp ridges. The chief motive of the folds is caused by the
drapery having once been raised by the lowered r. hand in the
neighbourhood of the thigh. It would be difficult to find a better
example of effective treatment of transparent drapery. All the upper
part of the body from below the breast and the upraised mass of
drapery by the r. thigh are missing. The simply moulded pedestal
is however preserved, and on it is by the 1. foot the remains of a
square block, bored through perpendicularly for the reception of
a water-pipe, which may have discharged its contents through the
jaws of a dolphin, or some such object. Were not this figure some-
what too freely draped for such a personage, we might take it for the
nymph of the fountain. H. 0-97, with the pedestal, i'o4. [* /^]

11 (AP.). Female draped figure. Chandler, 10. Clarac, 111.
410 H, 802 B, " Flora." The figure is standing, resting the 1. elbow
on the high trunk of a tree, with the 1. knee slightly bent. The
chiton is girdled very high under the bosom; the cloak hangs from
the 1. shoulder and arm far down in front, is then drawn round
behind the back, and conceals the legs, the upper edge slanting from
the r. hip towards the 1. thigh, without being touched by the hands.
New : head and neck, and perhaps all that remains of the r. arm ;
the 1. hand missing. The rest is not broken ; the round pedestal has
a rough moulding. The figure is altogether not delicately executed,
but has more freshness and individuality than the common Roman
specimens. H. i'i6. [* Jf^]

12 (AP.). Female draped figure. Chandler, 44 (too slim).
Same subject as no. 7 ; missing : head, three parts of the lowered
r. arm, half the 1. arm. Commonplace work, but still perhaps of
late Greek art. H. o-66. [*]

13. Statue of a lady, in girdled chiton, sitting in a chair,
of which the legs are missing ; the support of the chair has the form
of a high basket {kalathos), like those which are often seen under
the chair of the mistress of the house. The r. foot rests on a

OXFOKl), UMVr.KSITV GAI.l.KRILS I4 — 19. 545

footstool, the 1., farther advanced, on the ground. Head, lowered
arms and r. knee missing. Very simple, but good, soft treatment ;
almost certainly Greek. Much corroded. H. 076. [*]

14. Sitting female figure. She is robed in a girdled chiton,
her thighs and the lower parts of her legs are concealed by her cloak;
both feet rest on a footstool. Head, arms, front parts of both feet
missing. Work much stiffer and less good than in no. 13, also more
injured. H. o'Si. [*]

15 (AP.). Statue of a Roman in the pallium. Chandler,
38 (not slender enough). The r. arm, hidden in the cloak, is raised
in front of the breast, the 1. is lowered. Head and r. hand, also
the outer portion of the 1. forearm were put on separately, as the
dowel holes show; they, and the feet are now missing. Very simple
style, probably Greek. H. i'6o. [*]

16 (Burgon). Statuette of a youth, in a cloak, standing on
the 1. leg, resting his 1. hand on his hip as Asklepios usually stands.
Head, r. arm and feet are missing. Much corroded. H. 0-40. [*]

17 (Burgon). Fragment of a crouching lion, only pieces
of the legs. H. 0-19. [*]

The following statues belong all, or nearly all, to Lord Arundel's
Italian purchases :

18 (AP.). Statue of Zeus. Chandler, i. Clarac, in. 404,
692 A. The god is sitting on a rock, the upper part of his body quite
nude, his legs covered by his cloak ; the 1. arm is lowered, the r.
raised. The statue is insignificant and has been badly broken and
patched up. New probably : head, both arms excepting the junctions
with the shoulders, the feet and the pedestal. H. 0-94. [*]

19 (AP.). Statue of Athene, colossal scale. Chandler, 2.
Clarac, iii. 472, 898 C. The chiton, which is girdled and has an
overfold, reminds us in the chief features of its arrangement of the
Parthenos (Michaelis, Parthenon, PI. 15). The goddess stands on the
r. leg, r. arm lowered, 1. raised. The aegis, composed of two parts,
is small ; it hardly covers both breasts. New : the helmeted head
and the neck, upper half of r. breast and the r. arm, the 1. arm,
which was always raised ; both arms bear traces of supplementary
patching ; spear and shield have recently been removed. The
.Medusa, with raving mouth, and other parts of the aegis have been
re-worked ; the folds of the chiton have been patched in many
places. The work is purely decorative ; the r. leg is quite lost sight
of in the paltry management of the folds, the perpendicular folds

M. c. 35

546 OXFORD. UNIVERSITY GALLERIES 30 — 33.

Standing out only between the legs. On the outside of the leg are
two rows of zigzag folds, as in the Parthenos statue, but between
are perpendicular folds as if there were another garment under the
chiton. This appears to have been caused by a misconception of
the original idea on the part of the Roman workman who executed
this figure. H. 270. [*]

20 (AP.). Statue of Athene. Chandler, 3. Clarac, in.
474 A, 899 E. Episcopius, Signoriati vdcriun kernes, PI. 91. Kraus,
Sign. vet. icones, PI. 48 (sides reversed). The composition is ex-
cellent, like the similar figure in Castle Howard, no. 4, and is neatly
and well executed, though without particular delicacy. The aegis is
without Gorgon's head or scales, but on its edge are the remains of
snakes. On her back the plait of hair is visible. R. ami, neck and
head are now missing ; the head had been restored by Guelfi, and
already before that, according to Episcopius' engraving, it had been
restored in a somewhat difl^erent way. The statue may be a Greek
work. H. 1-32. [*C]

21 (AP.). Statuette of Athene. Chandler, 43. Clarac,
III. 474 A, 860 D. The goddess is very slender ; her chiton, which
has an overfold, is girded very high ; it falls on the ground for a good
way round the feet, so that the lower part of the body preponderates
still more over the upper part. R. foot somewhat drawn back. R.
arm was raised, 1. lowered. The aegis, divided, has a Gorgon's head
and a slight indication of scales. Missing : head, nearly the whole of
both arms, r. foot. H. o-66. The figure stands on a pedestal of
elegant Renaissance style, cf. Chandler, 156. \*CIV'\

22 (AP.). Statue of Artemis. Chandler, 9. Clarac, iv.
560 B, 1201 A. The goddess has her chiton girded twice, so that it
is lifted above her knees ; a peculiarity of this arrangement is that
the lower girdle passes, as the folds show, below the stomach, round
the hips (cf Clarac, v. 809, 2029). A skin, which hangs from the r.
shoulder across the breast, is also confined by the upper girdle. On
her back is the quiver. On her feet high boots. The goddess is
very slender. The enormously long neck is new ; the head old, but
scarcely belonging to the statue ; of both lowered arms only a small
portion is preserved ; the dog by the 1. leg and the stout support are
new. H. 1-45. With regard to composition, compare the statuette
in Dresden, no. 80, that has been so much restored (Clarac, iv. 562,
1203). [*]

23. Pedestal of a statuette of Artemis, about half life size.
Only the feet of the goddess, in the position of walking, are preserved;

OXFORD, UNIVERSITY CAI.I.F.RIES 34— ?7. 547

near the r. foot sit a boar and a dog, and in front of the 1. is the
remains of an animal whose species cannot be recognised. [*]

24 (AP.). Torso of an Amazon. Chandler, 17. Clarac, v.
808, 2038 A. The torso, now cleared from Guelfi's abominable re-
storations, is all that remains. It is of the same type as the similar
statue at Lansdowne House (London, Lansdowne House, no. 83),
which is usually ascribed to Polykleitos. The wound, made with
one incision and about which are many drops of blood, may be
seen near the r. breast. Missing : head and neck, both arms, lower
parts of both legs, the r. from the drapery, the 1. somewhat deeper.
The work is ordinary, but it has not been re-worked ; all the details
in the construction of the several parts of the girdle, particularly the
clasp, are carefully imitated. H. i -04. [* C ]

25 (AP.). Statue of Aphrodite. Chandler, 4. Clarac, iv.
634 D. 1392 C. Pricaeus, Notae in Apukii apologiam, Paris, 1635,
p. 93. Torso of a statue in the position of the Medici Venus, of very
common-place work. Restorations by Guelfi : head and neck, r. arm
with the small piece of drapery in the hand, 1. forearm. The legs
below the knees and the unusually plump dolphin are attributable to
an earlier restorer ; for they already existed, together with a different
head and different r. arm, in Arundel House, long before Guelfi's
time, as is shown by Price's engraving. H. i'34. [*]

26 (AP.). Statue of Aphrodite. Chandler, 6. Clarac, iv.
634 D, 1392 D. The legs are concealed by the cloak, which is
arranged in a broad mass round the hips, then gathered into a
kind of knot before the lower part of the abdomen, falling then
behveen the legs in a richly composed mass of folds. The upper
part of the body is bent slightly for\vards. Head and arms are now
missing ; in the back of the neck are remains of hair that once fell
there, but there is none on the shoulders, and there is just as little
trace of hands on the drapery. Sculpture good, life-like and fresh,
though not very refined ; the body is treated with feeling ; in some
parts the folds of the drapery are very deeply chiselled out. Surface
much corroded. Greek marble, apparently Parian. H. i'oq. [*]

27 (AP.). Statue of Aphrodite. Chandler, 26. Clarac, iv.
634 D, 1294 B. Statue in the taste and composition of the Venus
Genetrix (Holkham, no. 23), draped in a transparent, ungirdled chiton,
which leaves the 1. breast and shoulder free, with a cloak which
falls over the lowered 1. arm, and was perhaps held by the uplifted r.
arm. Missing : head, r. arm and 1. forearm. Ordinary sculpture.
H. o-8o. [»]

35—2

548 OXFORD, UNIVERSITY GALLERIES 28—32.

28 (AP.). Statue of Leda. Chandler, 18. Originally this was
not a bad specimen of the oft repeated group (Overbeck, Kunst-
myfhoL, 11. p. 491), representing Leda, rising from her rocky seat and
pressing the fugitive swan against her body, while with her 1. hand
she holds her wide cloak as a shield from the pursuing eagle. (Cf.
London, Lansdowne House, no. 78.) Missing : Leda's head and
neck, three parts of the 1. arm with pieces of the cloak, the r. arm,
and swan's neck; the rest is much broken. H. I'lo. [*]

29 (AP.). Statuette of Tyche. Chandler, 40. The figure, as
she sits enthroned, resembles in general the statue at Ince, no. 7.
A large portion of the cornucopiae in her 1. arm is preserved, but
nothing of the steering paddle. Missing : head and both hands ;
perhaps the r. forearm is new. Decidedly decorative sculpture.
H. 0-44. [*]

30 (AP.). Statue of Hygieia. Chandler, 27. Clarac, v. 978D,
2524 I (not good). The figure, resting on her r. leg, wears a simple,
girdled chiton with an overfold ; the small cloak, which hangs down
from her 1. shoulder, covers her back and r. thigh, and is then
drawn up in a narrow stripe towards the 1. hip. Noticeable is the
somewhat affected arrangement of the cloak, a piece of which is
drawn up by the r. thigh, and then laid over the edge of the cloak.
On the upper part of the r. arm the tail end of a snake is visible,
which guarantees the interpretation of the statue as Hygieia; cf the
similar statues in Florence and Brescia (Clarac, iv. 553, 1172. 560 A,
1 174 A). On the front of the r. hip there remains a puntello for
securing the r. forearm, which held the snake: the 1. possibly held
the cup, from which the snake wished to drink. Missing: head,
r. arm from above the elbow, and half the 1. forearm. H. i'02. [*]

31 (AP.). Statue of a Muse, sitting. Chandler, 7. Clarac,
III. 519, 1063 A. This is a replica of the Vatican " Terpsichorfe "
{Mus. Pio-Clem., I. PI. 20. Clarac, in. 517, 1056), of decorative
work, back very slightly treated. The edge of the cloak, going across
the lap, is bunchy. Missing: 1. hand and half the 1. foot Neck and
head, latter adorned with a stephanfe, have been let in and are per-
haps old (nose restored) but do not belong to the statue; the r. arm
appears to be new, on the 1. knee there has been some patching.
H. 1-32. [*;f]

32 (AP.). Statue of a Muse, sitting (Kleio?). Chandler, 8.
Clarac, in. 498 A, 990 A. Episcopius, Icoites, PI. 98 (sides reversed).
Kraus, Icoiics, PI. 47. On a chair that has no back and almost
perpendicular legs sits the Muse in girdled chiton and a cloak that

OXFORD, UNIVERSITV GALLERIES 33. 549

conceals her 1. arm and legs. The 1. arm is supported stiffly on the
chair, and holds the roll which is a common attribute of Kleio : the
r. leg is thrown over the 1. The upper part of the body leans to
its r. side and the neck is considerably inclined in the same direction,
showing that once the r. elbow must have rested on the r. thigh and
the r. hand have supported the head; the present arm, which is new
and has all the fingers in perfect preservation, does not touch either
the thigh or the head. New : r. foot and a piece of the drapery, also
the neck ; the head appears to be antique, but it cannot have origi-
nally belonged to this figure because the hair, unbound, now lies
horizontally instead of falling down. The 1. foot stands on a foot-
stool, the whole figure, including chair and footstool, on a pedestal
with mouldings. The execution of the statue is only decorative, but
by reason of the motive the effect is good (cf the "Penelope,"
Clarac, v. 834, 2090). The figure was intended not only to be
placed against a wall, for the back is perfectly smooth, but in a
sloping comer, or against a sloping object, for only this supposition
can explain the extraordinary design of the pedestal. The engravings

(I, chair ; i, footstool ; f, pedestal.

do not render this correctly, and they also do not give the legs of
the chair, which are almost perpendicular. The whole surface has
suffered much from rain. H. 1-23, with the pedestal, 1-35. ^CW'\
33 (AP.). Statue of Skylla. Chandler, 132. Fragment of a
group. Upper part of Skylla's body missing ; behind we see the
remains of entwined fishes-tails which served her as legs. Below her
hips, vandyked, there issue forth, from the covering of leaves, the
foreparts of the bodies of three animals ; in the place of the r. leg is
a dog, in place of the 1. a panther, and in front between the two
a third with head and neck destroyed. Each animal is seizing a
nude man (a good deal injured). The ground is rocky. The exe-
cution of this very pecuhar sculpture is only moderately good. Our
fragment has hitherto not received any notice at the hands of writers

550 OXFORD, UNIVERSITY GALLERIES 34 — 37.

on the Skylla myth (see particularly Vinet, Aiinali dell' Inst., 1 843,
p. 199); for other representations in statuary of this subject cf
Schone, Arch. Zeit., 1870, p. 57. (The Albani fragment treated by
Schone is now in the Torlonia Museum, no. 165, absurdly restored
as a Milon attacked by a wild beast, cf Schreiber, Arch. Zeit., 1879,
p. 63.) Frohner, Miisees de France, PI. 28, 3. The description of
a bronze group, once in the Hippodrome at Constantinople, which
perished in 1204, may be compared, as it is given by Niketas
Choniates, p. 861 ed. Bekker, km to apx^ov kokov, t^v ^KvWav, /xexP'
/lei/ i^ijos ■yvvaiKeiov cTSos Trpocjiipuva-av, Kal tovto Trporevis Koi vTrepp.at,wv
Koi paaTov dyptoTrfTO^, to. 8' Iktotc 8t£CTi^i<r/ieVoi' eis 6rjpo.% l/xirrjSwvTas
ttJ tou 'OSuacreMs vrfi Kal crv^voiis Tmv iraiptuv KarajSpo^^^i'^oi'Tas. H.
0-38. L. 073. [*]

34 (AP.). Statue of Hermaphrodites. Chandler, 34. The
torso corresponds exactly to the figure in Deepdene, no. 26. R. arm
was lowered. Missing: head, both arms, r. leg from the knee, 1. from
the middle of the thigh. The proportions of the figure are slender,
the bosom virgin-like, the waist narrow, the hips like those of a
woman, the distinctive male feature poor. Work soft, but not par-
ticularly good. H. 070. [*]

35 (AP.). Statue of Eros? Chandler, 14. Clarac, iv. 763,
1876 A, "Haqjocrates." The boy is without wings and has a small
piece of drapery on his back; he is supporting his 1. shoulder on
an inverted torch which stands on a mass of rock; the r. arm is bent
upwards in front of the breast. New : head and the r. hand ; the
fore-finger is laid on the mouth. It is possible that at one time the
eyes were closed and the head rested on the hand, so that the figure
represented Sleep or Death, cf no. 36. Insignificant work. H. 075,
the pedestal (with mouldings) o"i2. [*]

36 (AP.). Statue of Eros. Chandler, 15. Clarac, iv. 650 B,
1504 A. In the well-known motive: the god supports himself on
his torch and rests his r. hand on his 1. shoulder, toward which his
head is inclined. Antique : body, without wings, the r. arm, both
legs, excepting the feet, the inverted quiver and bow fastened to it,
which serves as support to the r. leg, the chin, and part of the r.
cheek. New: the greater part of the head, the 1. arm and the torch,
both wings which are made out of one piece and let in, and the
feet. The poverty of the work is specially felt because the dimen-
sions are so big. H. 173. [*]

37 (AP.). Statue of Eros sleeping. Chandler, 49. Clarac,
IV. 644 I), 1459 F. He lies on rocky ground with flowers about him ;

OXFORD, UNIVERSITY C.ALI.F.RIES 38 — 41. S51

a lizard and a snail arc crawling near his outstretched 1. leg. At
Eros' head lies the quiver; the head rests on the 1. wing. The
drapery by the shoulder belongs to a restored piece of the pedestal.
Missing: r. hand, a piece of the 1. arm, 1. foot. Very coarse sculpture.
L. 070. [*]

38 (.M'.). Group of Herakles and the lion. Chandler, 13.
Clarac, v. 792, 1977 A. Herakles stands upright with his legs far
apart, and his 1. foot in advance. With both hands he presses the head
of the lion that confronts him, and is grasping the hero's arms and
leg with his fore paws and r. hind paw. New: Herakles' head and
neck, the 1. foot which is treading on the 1. hind paw of the lion, this
paw and half the leg belonging to it ; the lower part of Herakles'
r. leg is missing. On the rock behind Herakles sits the nymph
of the locality, Nemea, in chiton and cloak. Her 1. hand is supported
on the rock, and in it she holds a wreath intended for the victor ; all
the upper part of her body is missing (cf the same scene on the
large Albani marble cup, Zoega, Bassir., PI. 62). The work is
decorative, but not so bad as one might think from the engravings.
H. o-8i, the pedestal (with mouldings) 0-07. [*]

39 (AP.). Statue of Herakles? Chandler, 12. Clarac, v. 790,
1970 A. A pretty good youthful torso, resting on the 1. leg, with a
lion's skin over the 1. arm, which is held so as to form a right angle.
The r. arm was raised. It has been very badly restored by Guelfi.
New : head, r. arm, 1. shoulder, lower part of the legs, and pedestal.

H. 1-25. [*]

40 (AP.). Statue of "Dionysos." Chandler, 11. Clarac,
IV. 678, 1580. The torso, completely nude, is certainly antique. The
god rests on his r. leg in a sinuous attitude, so that his hip projects
far out; r. shoulder is lowered, 1. raised. (The movement may be
compared with that of the Satyr pouring out wine at Petworth, no. 6.)
The statue is placed so high that it is difficult to decide whether the
youthful upward-looking head, which is more like the head of a
young athlete than Dionysos, belongs to it or not; it appears however
to be unbroken. Already Winckelmann {Mon. Ined., i. p. lviii)
was led by this head to doubt the correctness of the title Dionysos.
New : the uplifted 1. arm with the bunch of grapes, almost the whole
of the lowered r. arm with grapes and bowl, three parts of the r. leg
and the trunk of the tree, and the lower part of the 1. leg. Insigni-
ficant work, exaggeratedly praised by Vertue (p. 57). H. i-io. [*]

41 (AP.). Statue of a Roman in the pallium. Chandler,
19. Clarac, v. 900 E, 2312 C. The manner in which the 1. arm is

552 OXFORD, UNIVLRSITY GALLERIES 42, 43.

supported on the hip, is well known in statues of Asklepios, but the
arrangement of the cloak is different. The r. breast is bare. The
lowered r. arm is missing. New: head and neck, r. foot, and the fore
part of the 1. foot. H. 1-47. [*]

42 (AP.). Male statue, nude. Chandler, 21, "Antinous."
Clarac, v. 970, 2438 B. A powerful man rests on his 1. leg; beside
this a support covered with a chlamys ; the r. leg is slightly bent,
both arms lowered. Head very small and badly disfigured ; probably
new. It is difficult to decide whether more than the stump of the
1. arm and whether any part of the r. arm (in the hand remains of
an instrument, quite unrecognisable) is antique or not. The greater
part of the legs seems to be antique. The statue is completely
ruined. H. i'6rj. [*]

With regard to the discovery of the three following statues (43 —
45) Dallaway, p. 256, writes as follows : " Lord Arundel, when at
Rome, procured permission to dig over the ruins of several houses,
and is said to have discovered, in subterraneous rooms, the following
statues, all of which are presumed to be portraits of a consular
family, and not of the distinguished characters to whom they have
been attributed, without enhancing their merit." As Dallaway fur-
ther speaks of "so many" statues found together, he seems to suggest
that also " five Roman ladies, the size of life " (p. 260) were found
at the same place. These statues can scarcely be other than nos.
I, 2, 8, 9, II. I have explained my reasons in the note on nos. i — 9,
why, in this case, I cannot think Dallaway's statement to be exact.

43 (AP.). Statue of a Roman in the pallium. Chandler,
22, "Archimedes." Clarac, v. 848 A, 2143 C. The statue is
much better than the engravings would lead one to suppose. The
position of the body, which inclines strongly to the r., gives life to
the figure ; the cloak, arranged in broad folds, is soft and ample,
executed in good decorative style. The upper part of the body,
from the cloak, is made of a separate block, to which genuinely be-
longs the youthful head (unbroken ; nose broken). The curly hair
is very superficially treated, in fact little more than suggested. The
features of the face give us the idea of a portrait, but they do not
resemble Chandler's engraving at all. New : 1. arm from the cloak,
with the square {yviifiuiv, norma, which has procured for the statue
the name Archimedes, cf. Vertue, p. 58), which Chandler says is of
different marble, but that cannot be decided without cleaning; new
also the feet and the pedestal. H. 2-21. [*]

OXFORD, UXIVERSTTV GALLERIES 44—47. 553

44 (AP.). Statue of " Marius." Chandler, 23. Clarac, v.
900 E, 2304 B. E]jiscopius, Si^'fi. vet. iconcs, PI. 74. The stalue is
in excellent preservation ; head and neck have not been let in, but
put on with a sharp line of division; they appear to be antique, but I
cannot vouch for it. The face has no beard, the features are elderly.
The working of the drapery is very superficial and remarkably flat,
not soft and rounded. Much extolled by Vertue (p. 58) ; also by
Horace Walpole, who writes July 21, 1753: "The Cicero (no. 45)
is fine and celebrated; the Marius I think still finer." H. 1-82. [*]

45 (AP.). Statue of " Cicero." Chandler, 24. Cicero, ed.
Oxon., 1783, frontisp. This is a statue in a toga of very fine effect,
not executed perhaps very delicately, but powerfully and well, and
above all not done according to the received model, but having
larger masses of folds and many peculiarities in individual details.
Particularly striking is the fact that the so-called halteus does not lie
horizontally in front of the body, and the toga does not rise from
it perpendicularly in a right angle to the 1. shoulder, but that the
toga, in the fashion of a pallium, goes from the r. hip slanting directly
to the 1. shoulder, and that in consequence in the place of that right
angle the small round bunch of folds {umbo) is missing, which other-
wise only is left out when the togatus is represented velato capite (cf.
the beautiful Vatican statue, Mus. Pio-Clem., ni. PI. 19; altogether
our statue bears a general likeness in style to this example). Just
as noticeable is the length and breadth of the sinus, which hangs half
way down the shin. New : half the r. forearm with the small piece
of drapery in the hand, the 1. hand with the roll, neck and head
(with closely shaven whiskers, but without beard and mustache; nose
restored). A wart (cicer) on the right cheek has been added by the
restorer in order to make the figure a portrait of Cicero. G. Vertue
(p. 57) observes naively, " Marcus TuUius Cicero, bigger than life,
with his handkerchief in his right hand....'Tis exquisitely fine; my
lord [Pomfret] hath been bid three thousand pounds for this noble
figure." CT. also Horace Walpole to G. Montague, May 20, 1736.
July 22, 1751. H. 2-o8. [*jri

46. Statue of a Roman in the toga, with many unusual
details in the arrangement of the toga, the folds of which are very
deeply undercut. R. knee much bent. Head that of an elderly
man, but with long curly hair. Nose restored, hands missing. Work
very effective, but the whole statue seems to he new. \\. 2-20. [*]

47. Statue of a Roman in the pallium, in similar style,

554 OXFORD, UNIVERSITY GALLERIES 48—54.

hut coarser execution. The material of the cloak is very thick, the
flow of the folds ample. R. hand lies before the breast, 1. arm is
lowered. The fingers of the 1. hand with a piece of the roll have been
restored, head and neck are let in. According to all appearance
this is likewise the work of a very clever modern imitator. H. abt.

2-00. [*]

48 (AP.). Statue of a barbarian. Chandler, 20, "Paris."
Clarac, v. 834 B, 2161 J, "young Dacian." A barbarian in a short
chiton, twice girdled, chlamys, and hose, stands leaning against the
trunk of a tree, his 1. leg crossed over his r. The youthful head in
Phrygian cap (nose restored) might possibly be antique, but is to be
attributed with greater probability to the older restorer (cf on no. 3).
New : r. arm (at any rate the forearm), 1. forearm, legs from half way
down the shins. The interpretation as a barbarian is confirmed by
statues such as Clarac, v. 848 B, 2161 L. 854, 2161 C. 2162. Our
figure is certainly of coarse execution, but is better than one would
think from the engravings. H. i -30. [*]

49 (AP.). Torso of an Aphrodite. Chandler, 33. The same
type as the Medici Venus. Missing : head, r. arm, 1. hand, lower
parts of both legs. Poor work. H. o'53. [*]

50 (AP.). Male torso. Chandler, 35. The upper part of the
body is bent far forward and the 1. thigh is lifted high while the r.
stands upright; the position therefore suggests a Satyr stamping a
krupezion, but there is no Httle tail at the back, and the body is too
powerful, too like Herakles. Missing: head, arms, legs, of which
only the stumps of the thighs are preserved. H. 075. [*]

51 (AP.). Torso of a youth. Chandler, 36. He is standing
very straight, resting on the r. leg, both arms lowered. Preserved:
torso, stumps of both arms, and both legs to the knee. Tolerable
work. H. o-6i. [*]

52 (AP.). Male torso. Chandler, 37. He is standing in a
pose similar to that of no. 51, but the 1. arm was more raised.
Preserved : torso, stumps of both arms and of r. thigh. The whole is
ruined. H. o-82. [*]

53 (AP.). Torso of a Roman in the pallium. Chandler, 39.
Noticeable is the very large three-cornered fold of the cloak in front
of the stomach. The breast is almost entirely bare. Missing : head,
arms and feet. Common-place work. H. o'63. [* IV"\

54 (AP.). Male torso. Chandler, 42. The torso is completely
draped ; a girdled chiton with an overfold reaches to the knees (not
lower) ; on the r. shoulder a chlamys is fastened, which leaves both

OXFORD, UNTVKRSITV GALLERIES 55 — 59. 555

arms bare, but covers breast and back. On the cloak in front just
above the girdle may be seen two holes intended to hold some
metallic object. The r. arm was lowered, the 1. advanced horizon-
tally. By the r. knee are the remains of a support. The torso may
have belonged to the statue of a barbarian (cf. no. 48). H. 0-63. [*]
55 (AP.). Terminal figure. Chandler, 16. Clarac, in. 542,
1 136 C, "Apollon en hermcs." Body of a youth with the chlamys
round his breast and back, his thighs disappear gradually in a square
pillar tapering towards the base where it has a border ; below this
the feet, placed close together, peep forth (this lowest piece is broken,
but old). The youthful head, apparently a portrait, seems to be
antique, and belonging to the body (nose new). New: r. forearm
with the S)Tinx ; 1. arm is missing, and no traces of a stump are to
be seen. Probably Greek marble. H. 172. [*]

56. Statue of a sphinx. Chandler, 167. The sphinx, with-
out the foot-slab, is high. H. 0-54. L. of slab 1-13. [*]

57. Statue of a sphinx, quite similar. H. 0-59. L. I'lo. [*]

I have not seen the following specimen :

58. Statue of "Apollo." Chandler, 162. On a high column
(no. 130), as it had already been placed at Easton-Neston (Vertue,
p. 55), stands a male statue, without definite characteristics of an
Apollo. Legs and r. side of the body hidden by the cloak. The
figure leans against the stump of a column ; broken across the sto-
mach, without arms. H. i'59.

In Chandler's plates nearly all the busts are very badly repre-
sented, some of them so much so as to be quite beyond recognition.

59 (AP.). Female bust, "the Oxford Bust." Chandler, 53,
" Sappho " (abominable). An engraving of it exists by W. Hollar of
the year 1645 (Vertue, v. 88. Parthey, no. 590). This bust is the
fragment of a statue, cut off below the girdle ; half the lowered upper
parts of the arms preserved. It is hollowed out behind to make it
lighter for transport. Unfortunately it is badly mutilated; not only is
the neck severed right through, but the head itself has been broken
in pieces. However all these pieces fit on to each other, only the
nose and a piece of the 1. half of the forehead are missing. The
head is inclined gendy towards the r. shoulder and the face is a
beautiful oval, with slightly sentimental expression. The lips, now
much corroded, were soft and round, the moutli beautifully formed,
the cheek broad. Unfortunately the eyes are badly worn ; the lines

556 OXFORD, UNIVERSITY GALLERIES 6o.

of the brows are rather sharply defined. The rounded forehead is
beautifully framed in the wavy hair, which is encircled by a fillet
three times and then gathered into a plait at the back. Neck and
shoulders are treated in a simple, life-like manner, so is the bared
breast, which is strongly developed; all this part however is wanting
in details. It is very noticeable that the upper hem of the chiton,
which is drawn somewhat tightly from the 1. shoulder down-
wards straight under the r. breast, does not alter the form of the
breast; it makes no indentation in the flesh, nor does it press up
the breast. The drapery is treated in a masterly way ; the small,
light folds on the upper hem, and the large loose folds which fall
partly over the girdle and also where the drapery falls unconfined,
are worked with equal skill; the hollows are strongly rendered;
the whole drapery is of most artistic effect and suitable to the
material of which the same is made. On the upper part of the 1.
arm the chiton is fastened together with a number of small buttons.
The surface of the marble is now rough and granulous, the whole
statue having been much injured, and in parts much corroded. No
doubt many details have been lost, but the character of the sculpture
was always broad ; it is earlier than the period of Lysippos. The
great beauty of the fragment, which is probably a reproduction of a
design of the fourth century, has only lately been brought into notice
once more by Newton. Wieseler however exaggerates its merits
when he supposes it to be an original work of Praxiteles himself,
and I do not think he is right in declaring it to be a portrait of a
hetaira (^r<r//. Anz., 1859, p. 121); it appears to me at least that
the sensual allurement of such a portrait is wanting. The marble is
undoubtedly Greek, probably from Asia Minor or from the Islands.
H. 0-66. L. of face o-i8. [*CIV]

60 (AP.). Colossal head. Chandler, 81, "Apollo" (un-
recognisable) ; it appears to me questionable whether it is not rather
a female head. Unfortunately chin, mouth, nose, greater part of the
forehead, and much of the hair are new ; one can now only see that
a peculiar, comparatively early original is the foundation of the
design ; there is a preponderance of the lower part of the face, and
a line of the jaw which is peculiar to Peloponnesian sculptures. A
fillet passes round the hair, which bristles up over the forehead on
both sides and is then drawn back from the temples and wound
round the fillet (cf R. Rochette, Moji. Ined., PI. n, 5), falling at
last in a large heavy plait at the back of the neck. The exceedingly
poor execution of details shows that it was meant to be placed far

OXFORD, UNIVERSITY GAM.KRIKS 6l — ■JO. 557

from the eye. Chandler states that the statue belonging to this
head is probably buried under a house in Arundel Street, London
(cf. Introd. S 21). H. o-68. L. of face 0-46. [*C]

61 (Kurgon). Terminal head of Dionysos, in hieratic style,
with rows of curls and a long beard, cut off straight at the bottom.
Pretty well executed. H. 0-27. [*]

62 (.'\P.). Head of Niobe. Chandler, 54. The hair is not
arranged in curls, but falls in a wide mass down the back of the neck.
The bust is intended to be let into a statue. Nose and upper li])
restored. To me the whole head appears very suspicious. L. of
face o'22. [*]

63 (AP.). Head of a son of Niobe, of the one who has sunk
on his knees (Wclcker, A/ie Dcnkm., i. p. 227). Chandler, 55. To
me the head appears modern. [*]

64 (AP.). Bearded head. Chandler, 50, " Faunus." Modern.

[*]

65 (AP.). Bust of an infant Satyr. Chandler, 51, "Fauna"
(unrecognisable). A child's head with fat cheeks, brutish ears, rough
hair with wreath, and with a fillet falling down behind. The mouth
is slightly opened, showing the teeth. Tip of nose missing ; new be-
yond doubt is the nude, feminine bust, and the head itself is very
suspicious. Life si/e. [*]

66 (AP.). Beardless head. Chandler, 58. The beardless
head has a wreath of ivy in the rough hair ; can it be " the busto of
Pindar the poet" which was shown to Vertue at Easton-Neston
{Dcscr., p. 59)? The head was not bad originally, but it has been
frightfully disfigured. New : great part of the forehead, nose, under
lip and chin, and the drapery. Life size. [*]

67 (AP.). Bearded head. Chandler, 59. The beard is
shaved short, the hair is less like a wig than would appear from
Chandler's print; the expression is morose. Pupils expressed. New:
nose, and various restorations. Life size. [*]

68 (AP.). Bearded head, perhaps of Pupienus. Chandler,
60. The head very high, the long beard slightly parted. New : tip
of nose and bust. Much effaced. Over life size. [*]

69 (AP.). Head of Agrippa. Chandler, 98. In spite of the
coarse execution the characteristic features of the face, which is
turned sharply to the r., are not to be mistaken. Nose battered.
Over life size. [*]

70 (Rawlinson). Head of Domitian. Chandler, 99. Badly
injured, nose battered. Over life size. [*]

558 OXFORD, UNIVERSITY GALLERIES Jl — ?,2.

71 (AP.). Head of a youth. Chandler, 56 (quite a failure).
Only the head with its rough curls, which reminds us a little of a head
at Madrid (no. 123, "Ares," engraved in the Berichte d. sacks. Ges.
d. Wiss., 1864, PL i), is antique. New: nose, neck and breast.
Not bad sculpture. L. efface 0-17. Cf on no. 113. [*]

72 (AP.). Head of a youth. Chandler, 62 (bad). Nose and
mailed bust new, all the rest so much worn as to be past recognition.
Life size. [*]

73 (AP.). Head of a youth. Chandler, 63. A poor head.
Head and neck only antique ; nose new. Small life size. [*]

74 (AP.). Female head. Chandler, 64. The hair, parted on
the forehead, falls down in rich curls by the cheeks, and low down in
the neck behind. The whole is badly rubbed. New : nose and
draped bust. Small life size. [*]

75 (AP.). Female head. Chandler, 65. A stout lady, well
advanced in years, with wavy hair that is plaited in a round coil at the
back. Pupils and eyebrows expressed. Much broken. New : part
of the hair, nose and upper lip, draped bust. [*]

76 (AP.). Female head. Chandler, 105. The hair has been
adapted for the introduction of a veil, which we may suppose was
new, and which is now missing ; so is the nose. Insignificant work.
Below life size. [*]

77 (AP.). Head of a girl. Chandler, 106. The head shows
a good design. Missing now : the 1. half of the back of the head ;
forehead and nose have been injured. The hair is drawn back from
the forehead and confined under a ribbon (not a plait) ; it is brushed
sideways over the ears. Over life size. [*]

Neither in the University Galleries nor in the Ashmolean Museum
have I observed the following busts belonging to the Pomfret Col-
lection.

78 (AP.). Bust of Aphrodite. Chandler, 52.

79 (AP.). Bust of an elderly man, with thin whiskers and no
beard or mustaches. Chandler, 57. New.

80 (AP.). Bust of a bearded man, with drapery on the 1.
shoulder. Chandler, 6r.

81 (AP.). Terminal bust, youthful, with long curls. Chandler,
91.

82 (AP.). Bust of bearded old man, with bald head.
Chandler, 96.

OXFORD, UXIVKRRTTV GAI.I.ERirS 83. 559

RELIEFS, &C.

Wo will take first those reliefs which are of undoubted Greek
origin.

83 (AR), Greek measure. Chandler, 166. A/ma/i dcW
Inst., 1S74, ri. Q, p. 192 (Mat/,). In a framed field in the shape of
a pediment, with corners truncated, is represented the upper part of
the body of a youth down to the muscles of the breast, both arms and
hands, which are stretched out to the utmost, and the head turning to
the r., so that the spectator sees the profile. The form of the head is
high ; the hair is little more than blocked out and looks something
like a cap ; the lower part of the face is disproportionately heavy,
especially the high chin ; a smile may still be seen on the mouth ;
the eye (much rubbed) seems to have been originally shaped as
though it were seen in full face ; finally the decided though not hard
expression of the muscular body, and the excellent and skilful treat-
ment of the low relief — all this shows us that our relief, as Matz first
recognised, belongs to the 5th century B.C., possibly to the first half of
it. The representation is completed by the relief of a 1. foot, seen
from the sole, over the r. upper arm. Two holes in the upper edge
show that this relief slab must once have been fastened somewhere,
presumably in some public place where the relief may have served as
a figured standard measure, a conjecture which has been made already
long ago, probably by Lord Arundel's learned friends (cf. Vertue, p.
55). We may therefore suppose with certainty that the measure of the
foot and of the fathom (Jpyvia) must be exact. According to my
measurements, which, considering the importance of the matter, I am
sorry not to have taken with still greater exactness, the length of the
foot is o'295, that of the fathom 2'o6 (according to Conze, 2-07); the
latter consequently contains exactly 7 such feet ( = 2 •065). Now it is
known that a fathom was generally reckoned equal to 6 feet. More-
over, our foot is considerably shorter than the foot-measures which
were most in use in Greece (the Attic foot being -^o'3o8, the Samian
-0-315, the larger Olympian foot = o'32i, the Philetaerian = 0-35).
On the contrary, our foot shows a striking similarity with the Roman
foot of o'296, the direct application of which however is excluded by
the epoch of our monument. The double problem thus stated has
been acutely solved by Fr. Hultsch, who first {Arch. Zeit., 1879, pp. 177
ff.) recognised in the foot of our marble a modulus used by architects.
He has since {Arch. Zcit., 1880, pp. 01 ff., Ileraion und Arteinisicu,
Berlin, 1881, pp. ji flf.) pointed out that the recent excavations of

560 OXFORD, UNIVERSITY GALLERIES 84.

Olympia have brought to light as the fundamental measure of most
of the Olympian buildings a "smaller Olympian foot" of 0-298 (cf.
Dorpfeld in Die Ausgrabungen von Olympia, iii. pp. 26, 28 f.). This
foot, which is evidently identical with the foot of the Oxford relief, is
equal to two-thirds of the smaller Egyptian ell, which stands to the
larger or royal Egyptian ell in the proportion of 6 to 7 ; thus 7 of our
feet = 4 royal ells, i.e. one fathom, while the latter measure con-
tains also 6 larger feet. The chief interest of our relief lies in the
fict that it unites the fathom (which is the foundation of nearly all
antique foot measures) but slightly reduced (2 '06 instead of originally
2'io) with the smaller foot of 0-295 (similarly reduced from the
original 0-30). These two measures were already used together in
architecture in very early times ; the dimensions of the most ancient
of all the Olympian temples, the Heraion, for instance, are based on
a foot of 0-298 and a fathom of 2-084. The striking coincidence of
our foot with the later Roman foot is thus explained : the Romans
(lid not invent a new foot but merely adopted a measure long used
by the Greek architects. Unfortunately we know nothing of the
origin of our relief We see by the marble that it certainly does
not come from Attica ; more likely from Asia Minor. (Mr Fisher,
curator of the University Galleries, called my attention to the fact
that, measuring only from the root of the fingers, or with arms and
hands outstretched but with the fingers closed, " from palm to palm,"
the exact length obtained is equal to six smaller feet, 6 x 0-295 = i77
m.) The reHef is a good deal abraded and also broken by the r.
end, but the piece that is broken off has been preserved. Total
length 2-10. H. o-6j. [*C]

84. Fragment of a frieze. Chandler, 149 (without style
and inaccurate). The relief is finished off above with a roundish
moulding (KuyxaTioi/), below by a square border ; it is broken on the
1. end and terminated on the r. by a perpendicular joint. To the 1.
lies a dead man, nude, on the ground, and over him a youth, in chiton
and chlamys, with high boots and a " Phrygian " cap, gallops 1. on
his prancing charger. Then follows a nude youth, who has sunk on
his knees ; another youth standing behind him in flowing chlamys, is
seizing violently with both hands the upraised r. arm and the head of
his adversary, and is pushing his r. knee forcibly into his back, while
the adversary is trying with his 1. hand to free himself from the
1. hand of his assailant. No arms are visible in either of these
groups. Further to the r. a youth in a chlamys is pressing with
drawn sword upon a horseman, and he appears to be seizing his

OXFORD, UNIVERSITV GALLERIES 85 — 88. 561

adversary's prancing steed by the head ; the horseman, apparelled in
chiton and chlamys, cap and boots, is bending far forwards to
defend himself, so that a great portion of the upper part of his body
is hidden by the neck of his horse. The subject is evidently a fight
between Asiatics (in caps), some of whom are mounted, and Greeks.
The composition is lively and is divided into smaller groups, remind-
ing us of the frieze from the Athenian temple of Athene-Nike, which
is only a little higher in relief The style is more like that of the still
lower reliefs of the frieze of the Lysikrates monument, but it is harder,
less interesting, and more affected. Relief not flat but rounded; marble
yellowish, certainly not Attic. The fragment may belong to the
fourth, possibly the third century B.C. H. 0-41. L. 1-21. [*CMI'V]
85 (Burgon). Fragment of a relief. Above, the terminal por-
tion of a skirmish ; a nude man lying on the ground, and the lower
part of a man in a chiton pressing him hard ; between them the
lower edge of a large shield, belonging possibly to d defender of the
fallen hero. Lower is a moulding (kymation), and below that
again faint remains of a Greek inscription in two lines ; the first line
appears to end with the letters NA, and the second with A (Roehl,
Schcdae epigraph., Berlin, 1876, p. 4, no. 8). The palaeographical
character suggests a good period. H. 0-42. L. 0-28. [*]

85 (AP.). Kybele. Chandler, 114. Square relief, simply framed.
The field is very deeply chiselled out, and on it is represented a
long bench, on which sits a veiled female figure, in full face, with
a lion (described by Huebner, Arch. Anz., 1866, p. 303, as a suck-
ing child) right across her lap. One end of her cloak lies in broad
smooth folds across her body and falls sideways on the bench. The
feet rest on a footstool. It is a very rough variation of the Attic
reliefs of Kybele (nos. 131, 132, 159). H. 0-51. L. 0-53. [*C]

87 (AP.). Votive seat of Archidamos. Chandler, 11. 13.
Marble arm-chair with high back, on the inside of which at the top
is the inscription : o icptus 'Ap;^tSa/xos | <l>i/\atvcTou | "lo-tSt | 'OcrtptSt
'Avov/SiSi I xapwT7;7«ov (C. I. Gr., 6841). Right and left in relief
is a griffin, or winged lion walking, of which the front jjart is missing.
Grey marble. H. 0-76. [*]

88 (AP.). Right half of an Attic votive relief. Chandler,
116. The pillar to the r., and the architrave with the remains of
tiles on the top, are preserved. To the 1. moves a procession of
seven grownup figures and two children, the men in cloaks, the
women and a girl in chitons and cloaks. Quite in advance is a boy
in an apron, who is bringing the flat basket {kixvovv) for the sacrifice.

M. C. 36

562 OXFORD, UNIVERSITY GALLERIES 89 — 9I.

Then follow a female figure, a man, a female figure, all with their r.
hands upraised in adoration ; beside the last female figure is a girl,
and further on three female figures, all holding their r. hands con-
cealed in their cloaks before their breasts. A female attendant with
a very large box (ki^wtos) on her head closes the procession. The
heads are nearly all knocked off. Cf. no. 203. Execution rather
superficial, probably of the fourth century. Pentelic marble. H.
0-69. L. 0-62. [*CIV]

89 (AP.). Greek sepulchral relief. Chandler, 145. Only
the lower part preserved. A beardless man, in chiton and cloak,
with his r. hand before his breast, holding a roll in his lowered 1.
hand, is standing by a female figure. She wears a chiton and cloak ;
the back of her head is veiled, she is raising her r. hand to her
face. Their figures are nearly full face, rather turned away from
each other, while their faces are turned towards each other in a
life-like manner. This peculiar motive, which is almost a little
coquettish, often recurs on sepulchral monuments from Smyrna (cf.
below, no. 205. Lowther, no. 19. Rokeby, no. 3), and our relief
also will have come from that locahty. Below, to the 1., is a servant
in a short chiton, on either side of the female figure a girl in a
chiton, the first two with their legs crossed, the latter carrying some
object in the hand ; all these figures are of much smaller proportions.
In the background is a shelf and on it three objects, either boxes,
or caskets (not given in Chandler). The head of the man has been
re-set but is probably antique ; the head and 1. forearm of the female
figure are missing now, but they have at one time been restored.
Much abraded. H. o-6i. L. o-6i. [*]

go (AP.). Greek sepulchral relief. Chandler, 144. Again
only the lower part is preserved. A female figure stands in full face,
in long chiton and fine cloak, which serves her also as a veil ; her
r. arm lies across her body and she supports her 1. elbow on her r.
hand. The 1. hand holds a part of the border of her cloak very grace-
fully in front of her 1. shoulder. Head somewhat bent. On either
side of her stands a high pillar ; on the one to the 1. is a trunk with
an arched lid, on the one to the r. a round cista. Against each pillar
leans a diminutive female attendant; the one to the 1. holding a fan
made of leaves and an alabastron (?), the one to the r. a round
mirror, the cover of which she is folding up. Heads of both attend-
ants missing. The relief is a good deal abraded ; it comes presuma-
bly from Smyrna or the neighbourhood. H. o'So. L. 0*46. [*C7F]

91 (AP.). Sepulchral relief of Menelaos. Chandler, 11. 66.

OXFORD, UNIVERSITY CAI.I.ERIES 92, 93. 563

Above is an oblong field hollowed out and enclosed by two pillars ;
within this field are three busts in very high relief. To the 1. is a
beardless man in chiton and cloak; to the r. a female figure veiled
and quite concealed by her drapery ; between them a nude boy, or
youth, who wears a fillet falling down on his shoulders. The in-
scription below refers to him : Me^eAat MtveXaou x"'P' (C- -''■ ^''-i
6962), but of the first word only traces are now visible. Below is
a square field with a relief that is not so high. On a bed, beside
which is a tliree-legged table with food on it, lies the father Menelaos,
full dressed, holding in his 1. hand a cup and in his r. some round
object. He lays his r. hand on the neck of his half-grown son
Menelaos, who forms the central figure of the relief. He is draped
in a cloak and leaning against his father's couch. To the 1. sits the
mother, veiled, her r. hand raised and laid on her cloak ; near her
stands a little girl in chiton and cloak. There is a very similar
sepulchral monument in the Louvre (Clarac, 11. 157, 291). Greyish-
yellow marble. The style is not delicate. H. o-88. L. 067. [*C]

92 (AP.). Sepulchral relief. Chandler, 135. Three men,
draped, are resting on one couch ; the two to the r. have no heads,
the one to the 1. has had his head re-set (antique?). The two to
the r. hold each a goblet with handles, the one to the 1. is pointing
to a youth who stands by him, in full face, leaning against the couch.
This youth wears a chiton and a cloak which falls in fairly ample
folds. Evidently this one to the 1. is the dead man (cf. no. 91).
Beside him, by the couch, stands a three-legged table with a vessel
on it and two cakes in the form of pyramids. On either side sits a
veiled female figure, in a cushioned chair, with her feet on a foot-
stool; their faces are turned towards the main scene and their
r. hands are raised towards their faces. Beside the lady on the r. is
a diminutive female attendant with a box. At the top of the field
is a coiled snake ; in the r. hand top corner is in a special frame a
horse's head, the badge of rank of the dead man as iTrircv's. The
rehef is treated somewhat hardly and is simply framed. From its
style it seems to have come from Asia Minor or the Greek Islands.
H. 0-48. L. 0-63. [*]

93 (Burgon). Fragment of a sepulchral relief from the
Island of Tenos. A bearded (?) man, with a small modius on his
head, lies on the bed pouring a libation out of a cup ; before him is
a table (quite rubbed away) and a mixing vessel (Kparrjf)). To the 1.,
remains of a seated female figure, unveiled, with a small box in her
1. hand. In the background between the two figures a snake rears

36—2

564 OXFORD, UNIVERSITY GALLERIES 94—105.

itself up. Tolerably low relief. Much abraded. Dark grey marble.
H. 0-23. L. 0-28. [*]

94 (Burgon). High stele, rounded at the top in the shape of a
palmetto ornament, which however is not expressed, either in sculp-
ture, or, apparently, in colours. The only ornament of the stele is
the representation of a full-bodied lekythos in round relief. Marble
unrecognisable; the work looks Attic. H. 075. L. 0-26. [*]

95 (Burgon). Sepulchral lekythos. Fluted. Neck, handle
and foot broken off. H. 0-36. [*]

96—104 (AP.). Nine round altars or pedestals, of marble,
such as are found particularly at Rheneia, the island which served as
a necropolis to the neighbouring island of Delos; they are all pro-
vided at the top with a square hole, which shows that a statue, or
some other object, must have stood on them. There is no doubt
of their being connected with sepulchres (cf. no. 209).

96. Chandler, 157. Three heads of oxen support a garland orna-
mented with ribbons ; on the front side we see instead of the bull's
head, a youth, in chiton and cloak, r. arm before breast, 1. arm
lowered; beside him a diminutive attendant in a chiton with his
legs crossed. H. o'66. [*]

97 — loi. Chandler, 158. Four heads of oxen, adorned with
fillets, wear garlands ; in each entwining of the garlands is a cup
{patera). H. o-8S; 079; 077; 074; 071. [*]

102. The same ; but the cups are missing. H. 075. [*]

103. The same; with two shields instead of cups. H.

0-82. [*]

104. Four heads of oxen, with only rich garlands of (lowers and
grapes. H. o'66. [*]

105 (AP.). Fragment of a Greek sarcophagus. Chandler,
1x8. It appears to be the 1. end of the front, injured below and on
both ends, but having on the top a rich, sculptured moulding. On
a mass of rock sits facing r. a bearded chieftain, of somewhat bar-
baric appearance, with a fillet in his long hair; he wears a chiton
girdled twice and a long cloak. Behind him stands a bearded com-
panion (SopDc^o'pos), in chiton, chlamys and Phrygian cap, his 1. hand
holding the spear, in his lowered r. hand the sword. On the other
side of the chief stands a youth with long curls, perhaps his son,
draped in the same way as the companion in arms, but without
weapons, his hands being laid one over the other; he is looking
back to the warrior. It is uncertain whether these three wear hose;
the feet of them all are broken off. The chief is stretching out one

OXFORD, UNIVERSITY GALLERIES Io6— 108. 565

hand towards a dish laden witli fruit that is held with both her arms
by a young girl in a girdled chiton (face destroyed). Over her head
we see to the r. a nude arm, holding out a Nvreath or branch to the
chief; the arm very likely belongs to a Victory, and perhaps the dish
full of fruit refers to a sacrificial offering after a victory which may
have come next (cf. for example Guattani, Monum. Ined., 1784,
Giiigno, PI. 2). Only here of course the victor is not a Roman
general, as we see on the specimen I have cited and other sar-
cophagi ; but a barbarian prince, probably from the realm of mytho-
logy, for whom however I cannot find a name. H. 076. L. 078.
[*CI/]

106 (AP.). Fragment of a Greek sarcophagus. Chandler,

120. Pretty group of two boys. One of them staggering; the other,
quite nude, clasps him in his arms from behind to support him.
The former is partly covered with a little cloak ; he lays his 1. hand
on the arm of his helpful companion ; his r. he holds near his head.
The upper half is broken, but I think it belongs to the rest ; ac-
cording to Matz it would be probably new. Very high relief.
Above and on both sides the piece is incomplete. H. 076. L. 0-46.
Cf. no. 107. [*J/]

107 (AP.). Fragment of a Greek sarcophagus. Chandler,

121. Similar scene. One boy, with a ncbris, very tipsy, is falling
backwards insensible. The second, nude, with long curly hair, is
clasping him in his arms. The movement of the group is to the r.,
where a r. hand with a torch is visible. The fragment, also incomplete
above, and both to the r. and the 1., is not in such high relief as no.
106, and looking at the marble, execution, and size is not a part of
the same sarcophagus. For similar scenes on sarcophagi of Greek
origin cf. Stephani, JJer ausruhendc Herakks, pp. 95 ff. Matz, Arch.
Ziit., 1S72, p. 16. H. 0-69. L. 0-64. [*M]

108 (AP.). Fragment of a Greek sarcophagus. Chandler,
133. P'rom a similar scene. A drunken boy, with a fillet round
his head, on which he lays his r. hand, is stumbling along with
his 1. (not r.) foot advanced, his drapery fluttering round him. His
body is falling backwards and is held by a companion whose 1. hand
and forearm, with which he supports him, alone is preserved. To
the 1., a boy is stepping forward, with a pedum in his 1. arm and his
r. hand on his head. He is looking back at his companions. More
superficially treated than the two foregoing fragments ; relief tolerably
low and badly injured; incomplete on both sides. H. 071. L. 0-32

566 OXFORD, UNIVERSITY GALLERIES I09— III.

It may be asserted with tolerable certainty that the following
reliefs are all of Italian origin.

109 (AP.). Fragment from an oval Bacchic sarcopha-
gus. Chandler, 119. On a square altar or pedestal lies the head of
a goat; to the 1. of it is visible the r. leg of a skipping Pan; over it
a hand, with a pedum ; further up still a tympanon and an arm. To
the r. of the altar, in the middle of the fragment, a Maenad, only to
a small extent covered by her fluttering cloak, is dancing in the most
lively manner ; in her 1. hand she holds a long staff, probably a
piece of a thyrsos. Further to the r. a man (Satyr?), with drapery
over his r. shoulder and holding in his r. hand a large mask of
Seilenos, with the mouth open, is dancing opposite to her ; he has
turned his head backwards so that only the flowing curls at the back
of it are visible (Chandler's draughtsman mistook it for a badly-
formed profile). Between the two dancers in the background is a
bald-headed, bearded man, turning r., at his feet an altar with a
flame. Near the altar we see the remains of a draped figure lying
on the ground, over which a lion's skin (?) hangs down, held by the
dancing man or by a figure now lost. The fragment is broken
below and on both sides. Coarse high relief. H. 070. [*Af]

no (AP.). Fragment of a Bacchic sarcophagus. Chand-
ler, 126. Pricaeus, Notae in Apuleii Apologiam, p. 47. To the r.
we see the back of a woman almost entirely nude. A stout, strong
man has lifted her drapery almost to her shoulders, while his r. arm
is in a position as if he had raised it to strike her. His only drapery
is an apron round his loins ; near his r. hip is the piece of a flat
staff which, however, he cannot have held. The heads are missing.
The relief is very roughly executed and is badly injured ; broken
above, and on both ends. It is easily understood how Price came
to explain that the subject is the chastisement of a female slave who
has run away, or committed some other fault, the gesture of the man
being too violent for the simple inspection of a slave whom he may
be going to buy ; Chandler also thought of genus aliquod siipplicii.
I conjecture however that rather the plump Seilenos is intended, who
in exuberant sportiveness has uncovered a dancing Maenad (cf.
Miiller-Wieseler, 11. 40, 473; 48, 601, and for the uncovering of the
Maenad AIns. Pio-Ckm., iv. PI. 29). The staff would belong to a
figure that has been lost. There is something humorous in the fact
that this relief should have been among the first published from all
those in the Arundel Collection (in 1635). H. 0-55. L. 0-39. [*]
III (AP.). Cover of a sarcophagus with Trojan scenes.

OXFORD, UNIVERSITY GALLERIES III. 567

Chandler, 147 (very bad). Heydemann, Iliupersis, PI. 2, 3, p. 31
(cf. Conze, Gdltirrger gel. Anz., 1867, p. 599). Chandler's publication
of this relief, which is by no means exact, has called forth many wrong
explanations of it. The long frieze is divided into three scenes.
I. From the arched gateway of the town of Troy, on the extreme 1.,
comes the wooden horse, standing on a base provided with wheels ;
on its side hangs a shield, and on its head is a helmet-like head-piece,
as though it had been deemed necessary to make the warlike engine
itself resemble a warrior, or to symbolize the nature of its contents.
Four Trojans, wearing chitons with sleeves, hose and caps, are
occupied about the horse ; one stands beside him, looking back at
the gate and signing to those of his companions who stand outside it;
the three others are drawing the horse forward with a cord ; one of
them is evidently exerting himself with great pains to set the horse in
motion. (Cf the Berlin fragment of a similar sarcophagus cover in
Heydemann, PI. 3, 2.) Before the Trojan goes a woman in cloak
and chiton, with a branch in her 1. arm, greatly excited (her upraised
r. arm and her head are missing); no doubt it is Kassandra, the pro-
phetess of ill-luck, who in vain warns her countrymen (cf. the
so-called tabula Iliaca, in Jahn's Gricch. Bilderchroniken, PI. A*,
p. 32). — II. The massacre of the Trojans as they are feasting fol-
lows the taking of the town (for the feast cf. Proklos' extracts from the
poems of Lesches and Arktinos, also for the connecting of both
scenes Brunn, Rilievi ddle urne etnische, i. PI. 68, 2). On rocky
ground lie three Trojans in Phrygian dress, the middle one youthful,
the two others bearded; each has a drinking vessel. To their 1.
stands a bearded Trojan, putting his hand to his head and showing
that he is frightened ; behind the first of the recumbent carousers
stands another Trojan (upper part of his body destroyed) ; behind the
next is a Greek with his sword uplifted (chief part destroyed) ; into the
neck of the third a Greek warrior in a helmet and fluttering chlamys
is thrusting his sword. (Older interpretations considered this to be
either the sacrifice offered by Achilleus for Patroklos, or the murder
of Priamos at the altar.) — III. The fall of Troy was the consequence
of the death of Hektor : ademptus Hector Tradidit fessis leriora tolli
Pergama Grais (Hon, Od., 11. 4, 10). To the r. Pelides' chariot
drawn by a pair of horses and guided by a fully armed warrior
(Achilleus ? Automedon ?) gallops fast, dragging Hektor's corpse,
beyond which stands a warrior (Achilleus?), also in breastplate and
chlamys, boots, helmet, shield and spear. Under the horses two
Trojans lie on the ground ; beside them two Greeks are visible, one

568 OXFORD, UNIVERSITY GALLERIES 112, II 3.

nude, with helmet and lance. — On each comer is a youthful head
with long curls and a Phrygian cap. — Very rough sculpture, but with-
out any restorations. H. 0-28. L. I-I2. [*CM]

112 (AP.). Amazonomachia. Chandler, 148. A horseman
in corselet, with cloak and helmet, whose horse has been overthrown
and whose shield lies on the ground, is seizing an Amazon, who
is attacking him, by the head, and holding his sword ready in his r.
hand. The Amazon wears a short chiton, partly loose, high boots,
a helmet, and on the 1. arm a small shield {peltd), and wields the
sword with her r. hand. This very high relief is broken in several
pieces and seems to have been much restored; particularly suspicious
is the piece with the upper part of the horseman's body, and the head
of the Amazon, whose r. arm the restorer has quite omitted. Rough
and unskilful; perhaps the side of a sarcophagus. H. 0-58. L. 072.
[W]

113 (AP.). Sarcophagus called " Gerraanicus's Tomb."
Chandler, 150. There is an older drawing from the Dal Pozzo collec-
tion in Mr Franks' possession in London. Front. In the centre are
two Cupids holding a large round shield with a Medusa's head on it,
and below them lie two four-footed animals (heads missing). To the
r. a Cupid hurries away, putting a colossal helmet on his head ; oppo-
site him another Cupid is trying to lift a breastplate that stands on
the ground ; further still to the r. a third is hurrying off with a greave.
To the 1. of the central group two Cupids are trying to lift up a lance
(greater part of it missing); finally there is one with the greave of the
other leg. All the Cupids have wings, and all, except the second from
the left, wear the chlamys. Parts of their arms and legs, once
restored, are now missing.- — L. side. Two boys, one of whom has
wings, with short walking-sticks in their hands, carry on a yoke on
their shoulders a large breastplate. — R. side. Two winged boys, in
chlamys, are making great efforts to lift up a long lance. H. o"5o.
L. 2'i5. D. o-6i. The origin of the strange name of this sarcopha-
gus is the fact that when it was in Arundel House a bust, supposed
to be of Germanicus, was placed on it (cf. Chandler, and Dallaway,
p. 256), probably that bust which Sir Thomas Roe had obtained
from Ankyra (Introd., App., p. 197); perhaps it is no. 71, or 72,
hardly Wilton, no. 123. The name thus arbitrarily given stuck to
the sarcophagus, and even after the bust no longer stood on it, in-
vested it with such peculiar glory that in Easton-Neston it was made
the centre piece of a large architectural erection, described in the fol-
lowing manner by G. Vertue (Dcscr., p. 55): "At the end of the

OXFORD, UNIVKRSITY GALLERIES II4— Il6. 5C9

terrace on the left hand of the house, joining to the garden wall, is
Germanicus's tomb ; it is formed thus, viz. an alcove or arch is in
the middle, and upon a large oblong pedestal stands the Sarcophagus,
or tomb of Germanicus, which is long like a coffin, only strait and
square ; it is of marble, and basso rilievos on the outside ; upon the
tomb is set a round pedestal [Chandler 156?], and on that a marble
statue of Jupiter less than the life [no. 18]; on each side of this
pedestal are fine bustos of two women, and on each side of this arch
or alcove are doric pilasters, which support a pediment, in whicli
there is in basso relievo [no. 83] the figure of a man as big as the life
with his arms extended as if he was crucified, but no lower than
about his paps is seen, the cornice cutting him off as it were ; and
this extension of his arms is called a grecian measure, and over his
right arm is a grecian foot ; on the top of the pediment stands the god
Terminus [no. 55], and likewise on each side of this alcove are two
smaller niches, with two trunks of body in them [no. 49 &c.]. On
the outside of both these niches are dorick pilasters, which go up and
support the cornice, and at the top on each side two pedestals with
each a statue, very fine and perfect." [*yJ/]

114 (AP.). Oval sarcophagus. Chandler, 151. Front. In
the centre two Cupids are carrj'ing a medallion (clipeus) with the bust
of a Roman in the pallium, who has a roll in his 1. hand; the head is
merely sketched. Below the medallion, two tragic masks ; between
the feet of each of the Cupids lies a basket with flowers. To the 1.
stands a Cupid with a basket (not a comucopiae) on his r. hand, and
two geese (necks missing) in his 1. hand. The corresponding Cupid
on the r. has lost his r. hand, and traces of two stumps only remain
of some long object that he held; in his 1. hand he also has a basket.
All four Cupids are winged and wear the chlamys. — At either side a
lion mangling a horse. Very bad work. H. 0-48. L. 1-56. D o-^c.
[*.)/]

115 (AP.). Child's sarcophagus. Chandler, 152. Front.
In the centre field a Roman (child?) in the pallium, with a square
box lying near him on the ground, is standing before a curtain. On
either side an oblong field with twisted flutings. In each of the two
end fields stands a Cupid in a chlamys, having on one arm a staff and
holding up a garland in the other hand. The upper part of the body
of the Cupid on the r. is new. — On each side a palm tree, near
which a Cupid, in a chlamys, is driving a hoop {trochus) with a stick.
H. 0-42. L. 1-24. D. 0-42. [*J/]

116 (AP.). Child's sarcophagus. Ciiandler, 153. Only the

5/0 OXFORD, UNIVERSITY GALLERIES 11/ — 121.

front is sculptured. In the centre a medallion with the bust of a
boy ; below it two horns of plenty crossed. On either end twisted
fluting, in the corners ornamentation of vine-tendrils. Relief and
fluting very flat. According to Matz the sarcophagus is " perhaps
not Roman" (Christian? modern?). H. o'3o. L. 072. D. o'34.
[*M]

117 (AP.). Fragment of a relief, perhaps of a sarcophagus.
Chandler, 122. A female figure in girdled chiton and cloak, back of
her head veiled (head and upraised r. hand missing), holds in her 1.
hand the handle of a sword (blade broken off). Beside her an altar
with a flame, in the background on a basis of freestone a round
temple with Tuscan pillars and Doric triglyphs. It may be a frag-
ment from a representation of Iphigenia in Tauris, rather than of
Medea. The relief is tolerably high, but unfortunately much in-
jured ; it is however far better than the engraving would lead one to
imagine. H. o'52. L. 0-42. [*-^-^]

118 (AP.). Relief, perhaps the side of a sarcophagus.
Chandler, 123. A shepherd, in a chiton (exom/s), is standing with his
legs crossed, leaning on his staff'. By his feet a sheep and a dog. To
the 1. a tree, to the r. a rock with a tree and two more sheep. The
upper r. corner is new. Bad, flat sculpture. H. o'62. L. 0-29. [*]

119 (AP.). Square cinerary urn. Chandler, 155. Ox-skulls
in the corners support garlands ; in front a slender spray issues from
an ornamentation of vine-tendrils. On the tendrils sit two birds.
Pretty work. H. o'45. L. 0-38. D. 0-38. [*]

120 (AP.). Relief representing a Nereid. Chandler, 129.
A large sea-panther is swimming to the 1., guided by a small boy who
has thrown the bridle round his own body and is gracefully pushin^"-
against the withers of the animat with his feet. On the back of the
panther sits a Nereid, the upper part of her body nude ; her cloak
covers her legs, and originally it fluttered in an arch over her head,
as we see by the way in which a corner of it is held in her r. hand,
which is supported on the body of the animal, and by another
fragment which is visible near her r. shoulder. The pose of the
Nereid, particularly the turn of her head, is very graceful ; the whole
subject is skilfully and well executed in very high relief. Matz con-
sidered the whole relief to be new, but I think he was wrong. The
upper 1. corner is missing now. H. to the crown of the Nereid's
head 0-50. L. 0-85. [*M]

121 (AP.). Fragment of a relief. Chandler, 104. A
female head, veiled, rises from the field in very high relief; it is of

OXKOKO, UXIVERSITV GALLERIES 122 — I 29. 57 1

late but not bad sculpture ; a groat many rivets have been left between
the curls, which are deeply undercut with the drill. Life size. [*]

122 (.-^P.). Masks. Chandler, 134. A perfect mask, half
of one, a piece of one ; all three but roughly sketched. Eyes and
mouth are hollowed out deeply, but not perforated. H. 053.
L. 072. H. of relief 018. [*]

123, 124 (AP.). Two reliefs, perhaps the fronts of capitals
of pilasters. In the corners a dog's head with large ears, and a lions
head wearing garlands of oak-leaves, over them a horse's head looks
out in full face. Both specimens are like one another, only the
heads in corners are transposed, as is natural in counterparts.
High relief, in perfect preservation ; coarse marble. H. o'26.
L. 1-04. [*]

Besides these reliefs are to be seen here :

125, 126. Two Assyrian reliefs,
and the two following specimens deposited as the property of Mr
Ruskin :

127. Cyprian sepulchral stele, shaped at the top like a
pediment. Below, a low rehef-field (h. 0-33, 1. o'53): a bearded
man, completely draped, recumbent, his head supported by his 1. hand ;
at his feet stands a diminutive attendant in a short chiton. Below
again is a higher relief-field (h. 1-15, 1. 0-53) : a female figure, nearly
life size, is sitting to the r. in a chair ; she is veiled ; her r. hand lies
in her lap, her 1. hand raised to her face ; although the body is placed
in profile, the feet are placed as though it were in full face. This
stele is highly interesting because it combines the standard types of
two different periods side by side, and so illustrates for us the
eclecticism of the Cyprian plastic art; the lower relief has been
suggested by similar Attic works of the best period (cf. Liverpool,
no. 8), the upper one by the most favourite subject for sepulchral
monuments of the later periods of the art in Asia Minor and the
Islands. Native limestone. H. i'88. L. o'66. [*]

128. Cyprian monument. Two lions crouching on one
pedestal, their backs turned to each other. L. abt. 1-40. [*J

The University Galleries also possess the following specimens.

129. A painting from Pompeii. Musco Borbonico, ix. PI. 3.
Zahn, Ornamcnie und Gemdlde aiis Pompeji, 11. PI. 62. A female
figure in a red chiton, with a white cloak over it, is sitting with her
legs crossed, her chin supported on her 1. hand. In front of her
stands Eros, opening a small box, which he holds before his breast.

572 OXFORD, SCHOOLS I 30 — 133.

From the so-called Casa di Meleagro. Cf. Helbig, Wandgamilde,
no. 1430. Presented by Chambers Hall, Esq. [*]

A collection of terra cottas, vases, and bronzes has been
lately purchased from Mr Castellani for the Museum.

I have not paid attention to the following :

130 (AP.). Corinthian column. Chandler, 163, 164. The
column is broken in two pieces; h. with the pedestal and without the
capital 5 '55, the square area measure of the pedestal is 078, the
diameter of the column is, at the base, 0-56, at the top, 0-50. The
capital does not belong to it; it is formed of a double row of
acanthus leaves, and above them some reed-like foliage, without
volutes ; its lower diameter is o"52, h. o"67. Its origin in Delphi is,
I am afraid, very doubtful ; perhaps Delphi is a mistake for Delos.

The Schools.

The majority of the inscribed marbles, which were presented
by Henry Howard from the Arundel Collection (AH.), are let into
the walls of one of the rooms below the Bodleian Library. Some of
them are placed so high that it is very difficult to examine them
closely. With these are placed a considerable number of other
marbles, presents from Selden and Wheler. I only mention here
those specimens which have figure ornaments.

131 (Wheler). Kybele. Chandler, 113. Wheler, Journey,
p. 405, " Ceres." ^\'ithin the little temple (i/ato-Kos, aediculd) sits
Kybelfe, clothed in chiton and cloak ; her hair falls down in long
plaits ; on her head is a kalathos. A lion crouches in her lap ; in
her 1. arm she holds the large tympanon, in her r. hand a cup. Pen-
telic marble. H. o'3i. L. o'i8. [*C]

132 (Wheler). Kybele. Chandler, 115. Similar, but incomplete
above. The goddess holds the cup in her r. hand and below it
crouches the lion ; in the 1. arm are the remains of the tympanon.
L. hand, head, and pediment missing. Very superficial sculpture.
Pentelic marble. H. 0*20. L. 0T5. [*]

133 (Wheler). Relief with Nymphs. Chandler, 124. The
r. half is preserved. The relief is bordered on the top and on the
right by the rocky margin of a grotto, on which a piece of an
animal, presumably of a goat, is visible. Two Nymphs in chitons,
holding out their hands to each other, and dancing to the 1., where
one may see the remains of the drapery of a third. Probably

OXFORD, SCHOOLS 1 34 — 1 36. 573

Hermes was the conductor of the Nymphs to the god Pan, cf.
Brocklcsby, no. no. Pcntclic marble. H. o'3o. L. o'i5. [*]

134 (Wheler). Selene ? Chandler, 103. Round medallion
with a female head, seen full face ; the hair is entwined with a
fillet on the head, and flows down in rich curls on either side. The
eyes arc hollowed out. A chiton without sleeves is buttoned on both
shoulders, below it a border is visible, also going round the shoulders,
which might possibly have been intended as a half-moon. Late
sculpture, somewhat coarse. Apparently Pcntclic marble. H. 0-28.
L. 0-7. [*]

135 (AH.). Votive Relief to Herakles. Chandler, 11. 57.
Prideaux, no. 15. Maittaire, no. 36. Montfaucon, Antiq. ExJ>L,
Suppl., I. PI. 54, 2. Two antae bearing an architrave flank the
relief field ; the 1. corner of the architrave is broken off. The rocky
ground is covered with the lion's skin and Herakles reclines on
it, supporting himself on his 1. arm (forearm missing); his r. arm
(hand missing) rests on his thigh. To the 1. a tree on which the bow
and quiver hang and against which the club leans. On the archi-
trave IS written : [koct/xJj^tcvoi'tos 2Ta(Ttou) SfpaTrt'mvos XoAXctSov, I
\a.vrC\Koujx.-r]T(.vmTO% Ka(rt(ov) 'ATToXXwi'i'ou 'Xreipieo)';, | [o-ajJ^povicrTjJs
'AOrjvaioi SffeVSoVTOS 'EXcvcreiVtos | [to]is i<f>r]fioi'; tov 'HpaKXea dwo
■nji iv 'EXfuo-cii/t veUr]<;. Below the relief: iraiSoTpiPovvro'S 'AySa-
(TKOLVTOv I Tou Eu/id\irou Ki;<^eta-iea)s Itos Ky (C. I. Gr., 271. C. I. Att.,

111.119). It belongs to the middle of the second century A. D. Pen-
telic marble. H. 0-67. L. 078. [*C]

136 (Selden). Bull hunt {Taurokathapsia). Chandler, 11. 58.
Prideaux, no. 130. Maittaire, no. 37. The movement is from r. to
1. The foremost rider gallops forward with his r. hand upraised;
he is followed by a second, who as he sits on his horse is seizing
a bull by the horns; then comes a third whose horse is prancing
very high ; the fourth has thrown a bull down on his back and
seizing his horns is pressing his head against the ground ; his
horse stands quietly beside him. The fifth again is sitting on hi.s
horse and seizing a bull by the horns, but his movements are so
violent that it would appear as if he meant to throw himself on
the bull's back. All the riders have broad cloths wound several
times round their bodies after the manner of chariot drivers in the
circus, or of gladiators. Below is the inscription : TavpoKa6ai!/iu>v
y/xipa /3' (C. I. Gr., 3212). The whole incident is explained by
Suetonius, Claudius ch. 21, Thessalos e<juites, qui feros tauros per
spatia circi agunt insiliuntque defessos et ad terrain cornibus trahunt

574 OXFORD, SCHOOLS I37— 140.

(cf. Plin., 8, 182). We have ample testimony especially from Asia
Minor as to the spectacle of the 'IavpoKa$d\j/La (cf Prideaux, and
Hermann, Gottesdienstl. Alterthiimer, 64, 34) ; our relief comes from
Smyrna. Rough work. H. o'49. L. I'SS. [*C']

137 (Selden). Relief. Chandler, 127. Prideaux, no. 44. Mait-
taire, no. 38. The relief has three divisions, one over the other.
Upper strip. One man is leading by a long cord, which is wound
round their necks, two other men, nude except for a narrow apron.
The leader is very completely draped; he has a jerkin with sleeves
and over that a very broad cloth round his body, a cap falling
down on to the back of his neck, and hose of a reticulated pattern;
he is most like certain classes of gladiators (Samnites, Tlireces). —
Middle strip. Almost exactly the same scene. ^Lower strip.
A lion (only in part preserved) is strangling a bull ; close by two
rams are butting each other. As the engravings here show a bull,
a ram, and a pig, stiovetaurilia have been suggested ; but it is more
probable that some reference is intended in this very remarkable
relief to circus games. Coarse, rough sculpture. H. 0-99. L. o'5g.
Supposed to be from Smyrna. [*C]

138 (Wheler). Fragment of the Attic sepulchral relief of
Glauketes. Chandler, 11. 62. A bearded man, with a sad expres-
sion, in a cloak, supporting his head in his r. hand, leans against
the pillar which finishes off the relief on the r. ; only the upper part
of his body, down to the stomach, preserved. In front of him are
the remains of a second figure, apparently the bust and raised I.
forearm of a boy. The r. half of the pediment is preserved ; on
the architrave is WTitten rXavKCTT/s (C. /. Gr., 929). Fragment of a
large and handsome stele of the fourth century, in high relief Much
abraded. Pentelic marble. H. 0-65. L. 0-45. [*C]

139 (Wheler). Fragment of an Attic sepulchral relief.
Chandler, 136. A bearded man lying on a couch, his body and legs
covered by his cloak, raising his r. arm a little; in his 1. hand he
holds a cup. Missing : r. hand, legs, and the rest of the relief.
Good low relief of the fourth century. Pentelic marble. H. 0-27.
L. o-i8. [*]

140 (Wheler). Attic sepulchral stele of Philodemos.
Chandler, 11. 63. A youth, Philodemos, in a chiton, girded very low
down, the chlamys on his 1. shoulder, holding his horse by the
bridle with his 1. hand. He gives his r. hand to a lady, Lysimache,
completely draped, who is putting her hand to her cheek. Missing :
the feet of the figures and all the lower part of the stel^. Low

OXFORD, SCHOOLS I4I — 143. 575

relief, not very delicately executed. Over it is the inscription in
good characters [<I>]iXo8>;/ios 2o(/)i'Aou (the A, not N, is added over the
O) I XoXXei&r]<;, and then after an interval have been but slightly
scratched in the lines below, which are evidently of later date, Avo-i-
l^-a-XV Ti/xoy«7rovos (written by mistake for liftoyuTovo's) \ ^peappCov
(C. I. Gr., 800, inaccurate). Over that a moulding and then the
remains of a Siren, which formed the conclusion of the upper end
of the sepulchral monument (cf. Brocklesby, no. 40. Wilton, no.
109). The monument is certainly Attic, of the fourth century p,.c ,
but it is remarkable that it is not of Pentelic but of some grey mar-
ble ; it may therefore come perhaps from a place outside Attica,
where Athenians had settled and introduced Attic art. H. 0-67.
L. 0-38. [*C]

141 (WheJer). Attic sepulchral stele of Diodora. Chand-
ler, II. 93. The stelfe is now finished off at the top with a straight
moulding, but above this may be observed traces of a top ornament
(eVi^cyua, dvOefj-Lov). Below is the inscription AioSu'pa | l<!iKrj(f>6pov \
"AvTidxto-tra (C. /. Gr., 825), perhaps of the second, or the first
century B.C. Below, two large rosettes ; under them a square relief.
A lady, completely draped and veiled, with a small napkin in
her lowered 1. hand, is offering her r. hand to a beardless man in
chiton and cloak. The relief is coarser than those of the common
Attic stelae of the same composition. Pentelic marble. H. 075.
L. 0-44. [*C]

142 (AH.). Greek sepulchral relief. Chandler, 140. Pri-
deau.x, no. 76 (restored). Maittaire, no. 143. Montfaucon, A/if.
ExpL, SiippL, v. PL 8, 2. A man, fully draped (head missing), is
lying on a couch holding a cup in his 1. hand, his r. hand is laid on
his knee. Before the couch stand two three-legged tables ; on one
is food, on the other vessels, and near this on the ground is a bucket ;
quite to the r. is a diminutive attendant in a short chiton, who holds
in both hands in front of him a fan shaped like a leaf At the foot of
the bed sits a veiled female figure, her chin supported on her r. hand;
her chair and footstool very high. Behind her is a diminutive female
attendant with a similar fan in her 1. hand. The upper part of the
monument is missing. Grey marble ; coarse style ; considerably
rubbed. Probably from Asia Minor or the Islands. H. 0-36. L.
o-si. [*C]

143 (AH.). Greek sepulchral relief. Chandler, 11. 67. Pri-
deaux, no. 73. Maittaire, no. 142. Montfaucon, Ant. Expl., Suppl.,
v. Pi. 7, 2. The relief, incomplete below, is simply framed ; on the

5/6 OXFORD, SCHOOLS 144 — 146.

upper edge is an inscription, difficult to read, of vvliich I think I have

deciphered NIK-2-02 OSO'I'A- • -(C. I. Gr., 6975, inaccurate).

On a couch Hes a man (his head battered), fully draped, holding in
his 1. hand a cup and with the r. hand helping himself to food from
the table. Of the table only the top is left. On the border to the
r. is an indistinct remnant. To the 1. an attendant (only in part
preserved) is holding up a cup towards which a snake is wriggling
from above to drink out of it. In the background a wall, or a shelf,
on which to the r. lies a helmet of unusual shape ; above, hangs a
shield; to the 1. a horse's head is visible. Yellowish marble; late,
coarse style; very much effaced. H. 0-29. L. o'35. [*C']

i44(Wheler). Attic sepulchral relief. Chandler, 138. Wheler,
Journey, p. 406. The relief is incomplete at the r. end. On a couch
lies a bearded man (upper part of his body rubbed away) with a
modius on his head and in his upraised r. hand a drinking-horn
(puToV). On the foot-end of the couch sits a female figure fully
draped, who holds a small box in her 1. hand and stretches out her r.
hand towards the table. From the 1. worshippers are approaching
bringing to the dead man, now translated among the heroes, their
sacrifice ; a bearded man and a woman of larger scale, and a man
and a woman of smaller scale, all making gestures of adoration ; be-
sides these comes a sacrificial servant with a pig and in his 1. hand a
basket (Kavovv). In the upper corner to the 1., on a slightly raised
square surface, is a horse's head (cf. on no. 92). Low relief of in-
significant work, very much injured. Grey marble. H. o"i8. L.
0-27. [*]

145 (Wheler). Attic sepulchral relief. Chandler, 137. An
architrave is supported on two antae : it has seven tiles on the top.
On a couch, provided with cushions and hung with tapestry, lies a
bearded man with the modius on his head. His cloak leaves his
breast and r. arm exposed. With his r. hand he raises the drinking-
horn to pour wine into the cup in his 1. hand. On the couch there
also sits a female figure, fully draped, holding in her 1. hand a small
open box from which she seems to have taken frankincense which
she is throwing on a low altar {dvixia-njpiov), that stands on the table;
beside it on the table are several kinds of food. To the 1. stand
a bearded man and a veiled female figure, also three boys enveloped
in cloaks, all with their r. hands raised in adoration. Very good
work, tolerably high bas-relief. Pentelic marble. H. 0-28. L. 0-41. [♦]

146 (Wheler). Attic sepulchral relief. Chandler, 139. The
architrave is supported by two antae, provided with remains of tiles

OXFORD, SCHOOLS 147. 577

on the top. On a couch lies a bearded man, exactly as in no. 145,
only that there is no modius; in front of him a dish with food. The
female figure sits on a chair, holding with both hands a fillet (more
likely than a wreath). On the extreme r. stands a nude attendant,
raising an ewer in his r. hand, near by a mixing bowl {Kpa-njp) on a
draped stand. To the 1. stands a worshipper, bearded, in a cloak,
raising his r. hand. Style like that of no. 145. rentclic marble.
H. 0-26. L. 0-36. [*]

147 (Selden). Sepulchral relief of the brothers Hikesios
and Hermippos. Chandler, 11. 71. Pridoaux, no. 7. Maittaire,
no. 40. Montfaucon, A/if. ExpL, Supp/., v. PI. 4, 2. In the centre
sits, facing r., an elderly lady (Metris) with a wrinkled face, veiled;
she is looking sadly up at a youth (Hermippos) clothed in chiton,
cloak and shoes, to whom she gives her r. hand. A second youth
(Hikesios), in a cloak only, is standing behind the mother, his hands
folded before his stomach. On either side a diminutive attendant in
a short chiton; the one to the 1. is looking round the youth, the one
to the r. in a posture of grief, his legs crossed, his head laid on his
1. hand. All the upper part of the stel^ above the relief is missing
now; below the relief, the inscription (C. /. Gr, 3333. Kaibel,
Epigr. Gr., no. 241),

Oi Stcrtrot (mt'd|U.at/xoi, loj %£r£, touS' iiro Tifijiwi

aipavcTTOi TiKvwv KiifxtOa Kovp&iiav
1k€<tio'S Kayoi viapdv Tr\rjpovfi.€vo'; rjfiav

Ep/ilTTTTOS KpvepoV TOvSe €)(OIJLfV OdXa/xov,

5 AiSav iyKvpiyavTi'i aXajXimov £vyej'eTvj[s] Se

0ev6oTOS ov (TTvyepov ■irivOo% cc^eiSt iraT^p,

IxrjTijp 8i T^ Svarrjvoi dSi'pEra/ old Tts axTatg

aXicuovis yoepoTs SaKpvcri ixvpo/xa/a,
Mt;tpis >J XnrdSiXrfjos' [i]prjii<j>6eicra Se TtKi-wi'
10 [y^Tjpaiop. /JioTcis Ttppa. iviirXr^ai KaK[uj]i'.

Line 5 K stands instead of 2, line 9 2 instead of E, line 10 V instead
of r, and O instead of n. Boeckh has emended KaKwv, and de-
fended i<j>€'iSt, line 6, as signifying the same as iirelSe. The inscription
belongs most likely to the first century B.C.; the palaeography is
rather irregular (A and A, n and F, B, 2, U)). As to the names, cf
the Smyrnaean inscription C. I. Gr., 3141, 1. 27 — 31. Our stelfe
also conies from Smyrna ; Selden obtained it from a Mr Vernon in
Essex. H. 0-94. L. 0-59. [*C]

M. c. n

578 OXFORD, SCHOOLS I48 — 150.

148 (AH.). Sepulchral stele. Chandler, 146. Prideaux, no.
67. Maittaire, no. 141. Montfaucon, An/. Expl., SuppL, v. PI. 6.
A youth in chiton and cloak, turning r., is giving his r. hand to a
beardless man or youth who is sitting, also in chiton and cloak.
He has shoes on his feet which rest on a footstool. Behind each of
the two men stands a diminutive attendant in chiton ; the one to the
1. has his legs crossed and supports his head in his hand ; the one to
the r. folds his hands in front of his body. In the background is
a shelf with four boxes. Above the reHef the marble has been
roughened, apparently to obliterate an inscription that may once
have been there. Above, a pediment, with a rosette in the field ; it
is quite peculiar that the lower geison of the pediment should not be
horizontal; it is arched instead, somewhat in the form of a low pedi-
ment, and not round as in Chandler's engraving. H. 079. L. 0-45.
[*C]

149 (.Selden). Sepulchral stele of Apollonia. Chandler, 11.
90. Prideaux, no. 10. Maittaire, no. 34. Montfaucon, Ant. ExpL,
SiippL, V. PI. 5, 2. In the pediment is a shield. Below, between
two rosettes, in a hollowed square a wreath surrounding the words
d 8i;/ios; below again, in larger characters, ' hiroWiavlav Kr;<^icro^wvT05
(C. /. Gr., 3219); thus is immortalised on the sepulchral monument
the crowning of the dead lady by the community (cf. Lowther, no.
19. Wilton, no. 109). Apollonia, who is apparently a priestess,
perhaps of Demeter, is clothed in chiton and cloak, the latter richly
arranged ; in her I. hand she holds a bunch of ears of corn and a
wide fruit or flower (in form something like a broad whitewashing
brush, according to Conze a poppy-head). She raises her r. hand
and touches with it the top of a very long torch (cf Lowther, no. 19)
which is held in both hands by a diminutive female attendant. A
second attendant, on the r. border, holds an alabastron in her 1.
hand, while with her r. hand she seems touching the cover of it.
The monument is broken below. Probably from Smyrna. H. 0-97.
L.O-5I. [*]

150 (Selden). Sepulchral stele of Akesteime. Chandler, 11.
92. Prideaux, no. 9. Maittaire, no. 32. Montfaucon, Ant. ExpL,
SuppL, v. PI. 5, I. In the pediment is a shield. In the hollowed
relief field sits the veiled Akesteime (head missing), supporting her
head on her 1. hand. She sits in a chair in full face and has a foot-
stool. To the 1. stands a female attendant with a box in her upraised
1. hand ; to the r. a second attendant with a fan in the form of a leaf
in her r. hand. Above her, in the field, is a serpent. High up in

oxFORn, SCHOOLS 151 — 154 579

the corners, to the 1. are two cymbals and to the r. a tanibourine
(n'jUTrai'oi/) ; this might suggest a relation of the lady to the rites of
Kybeli;, or of the mother of the gods. Below, the inscription
AKKTTCi/jLr] ^ijixayopov, [ yvvr} hi ' ApT€fj.iS<opov, xa'p[«] (C. /. Gr., 3262).
Coarse style, mediocre work. Presumably from Smyrna, though the
marble appears more yellowish than most of that used for .Smyrnaean
monuments. H. 0-44. L. 027. [*C]

151 (Wheler). Fragment of a sepulchral stele. Chandler,
1 25. A female figure standing, completely draped, of wliich the lower
half is preserved ; on either side is a diminutive female attendant in
chiton, each holding a box with the lid open. The ste.e tapers
very much. It is hardly Attic ; the marble and the style point rather
to the Islands or Asia Minor. H. 0-21. I.. o'36. [*]

152 (Selden). Sepulchral stele of Nikephoros. Chandler,
11.68. Prideaux, no. 8. Maittaire, no. 31. Montfaucon, y4«/. .C.t//.,
Si////., V. PI. 4, I. The stele tapers a great deal, the pediment is
severely injured. The little Nikephoros, in ungirdled chiton and a
small cloak, holds in his 1. hand a little box (?); with the r. he offers
a bunch of grapes to a bird, which is pecking at them from the
ground. Below, the inscription NiKj;</)a'p€ XPW'^ I X"'/'* (C. /. Gr.,
3360). Possibly from Smyrna, or from the Islands. Coarse style.
H. 0-50. L. 0-26. [*C]

153 (Wheler). Upper part of a sepulchral stele. Chandler,
II. 65. The pediment still has preserved the uppermost palmette as
akroterion. On the frieze (^ax^o'pos) is the skull of an ox, on either
side a lion or panther, turning towards the centre. At each end is
half a palmetto, as a top ornament. Below, an architrave in two
divisions, and in the lower of the two the inscription AiocjiavTe
Aio</)aiTov x^V^ (C. I. Gr., 6915). Of the field for a relief which
was below there remain only the Corinthian capitals of the two
columns that framed it at either end ; all the rest missing. The
material is coarse limestone, the whole composition very unusual,
certainly not Attic. H. o'6o. L. 0-57. [*]

154 (AH.). Sepulchral relief of Diophantos. Chandler,
II. 64. Prideaux, no. 75. Maittaire, no. 33. Montfaucon, Ant.
Expl., Suppl., v. PI. 8, I. Square relief, simply framed. A nude
youth, in full face, stands in a graceful posture : his lowered 1. hand
seems to hold a wreath, the r. hand holds his 1 ead. Beside him an
attendant in a chiton. On the upper edge the inscription Ato<^aj'Tos
Aio</jaWou (C /. Gr., 6914; besides no. 153, cf. C. I. Gr., 748 h,
Atoc^aiTos Aioc^aiTov IlaXA.r/i'eiJs). The relief, belonging perhaps to

37—2

S8o OXFORD, SCHOOLS 155.

the second century b. c, was once apparently good ; now it is effaced
all over. Coarse, yellowish marble. H. 0-24. L. o'29. [*C]

155 (AH.). Sepulchral monument of Claudius Agathe-
merus and of Myrtale. Chandler, 11. 70. Prideaux, no. 4. Mait-
taire, no. 39. 'iAontiaucon, Ant. ExpL, SuppL, iii. PI. 9, i. Visconti,
Icoiwgr. grccque, I. PI. 33. Two life-size busts side by side, to the 1.
an old lady with a high curled wig, veiled, to the r. a beardless man
in a toga. Below, the inscription {C. I. Gr., 6197. Kaibel, Epigr.
Gr., no. 554),

KXaijSios I'tTrjp 'AyaOijjJ.ipo'; iv6dSe Ku/xaL,

TTavTOLT]'; SeSaws Kpanrvov aKcafxa voaov'
$vv6v TOVTO S' e/xol Koi MupTaXjj tlcra crvvevi'(i)

IJ.viJiJ,a.' ^UT (.vaejiiuiv 8 ia/xiv iv HAvtrtwi.

The style of the lady's hair suggests the second half of the first cen-
tury A. D., and with that agrees well the palaeographic character of
the inscription. Hence the suggestion of Reinesius {Synt. inscr., p.
610) is a very probable one, namely, that our physician is identical
with the friend and fellow-pupil of the poet Persius, of whom it is said
in the vita Persii: usus est apud Conitdtan diiorum convictu dociissimo-
rum et sanctissimormn virorum acriter tioic philosophantium, Claiidii
Agathemeri media Lacedaemonii et Petroni Aristocratis Magnctis,
quos wiice miratus est et aemtilatus, aim aequales essent, Coniuti mi-
nores et ipsi. The monument comes from Rome, where it was once
in the possession of the sculptor Chr. Status, near the church of
S. Andrea delle Fratte. H. 0-83. L. 089. [*]

ASHMOLEAN MuSEUM.

The basement room of this Museum conceals a tolerably large
collection of various sculptures ; among which the worthless element
preponderates and the spurious is strongly represented. In many
instances the names of the donors are unknown ; some specimens
have been separated from the pieces in the Schools to which they
belong, from want of space there. Many of the sculptures are placed
very high ; all are covered thickly with dust ; the difficulty of judging
with certainty about the restorations is therefore rather great. To
facilitate our survey, I will again classify the specimens into statues
and statuettes, busts, reliefs, etc.

OXFORD, ASHMOLEAN iMUSEUiM 156 — 161. 581

STATUES AND STATUETTES.

156. Group of Aphrodite with Eros and Psyche (?).
The figure of the goddess repeats in all essentials the motive of the
Venus of Melos. It exhibits also a particular correspondence in the
drapery, the tip of which is laid over the I. thigh ; the 1. foot is set on
a tolerably high pedestal. The r. arm is missing from the breast, the
1. shoulder is restored, arm and head are missing, on the shoulder
traces of curls are visible. Beside the 1. thigh stands a pillar on
which is a cithara. This may prove that some restorer had an idea
of making the statue a Muse (cf. the Erato on the Lansdowne sarco-
phagus, no. 75). In front of the pillar, beside Aphrodite's 1. foot,
stands a boy (Eros) quite nude, with his hands on his back; his
head is missing. Further round the corner is the lower half of some
one enveloped in a cloak, the waist bare, apparently that of a female
(Psych^), but the restorer has stuck on a male breast, arms and head.
Both children are about half the size of the princi]ul figure. For the
association of the three figures cf the Dresden group, Clarac, iv. 640,
1451. H. 0-58, with the pedestal 0-64. [*]

157. Statue of Aphrodite, the same motive as the Medici
Venus. New : head, r. arm, half the 1. forearm ; legs badly broken,
but for the most part antique. Beside her is Eros riding on a large
dolphin ; his 1. arm is missing, and his r. hand, which lies on his
head, new. Very rough sculpture. H. 074. [*]

158. Torso of a statue of Aphrodite, in similar position.
Only her body and thighs are preserved. H. 0-28. [*]

159 (H. Clarke). Statue of Kybele, sitting in her shrine,
which has a pediment ; she has a modius on her head, below which
long curls fall down ; in her r. hand she holds a cup, and in the 1.
hand raises a tympanon ; her feet rest on a very high footstool, and
in her lap the lion crouches. H. 073. L. 0^27. From Ephesos.

[*]

160 (H. Clarke). Torso of a statue of Eros, including the
r. thigh. His r. arm went down slantwise in front of his breast, the
1. was advanced horizontally. Traces of wings are perceptible on
the back. H. 0-36. From Ephesos. [*]

161. Statue of Eros riding on a dolphin. Head, r. arm,
1. forearm, lower part of r. leg missing. The dolphin's mouth has
been perforated, from which we infer that the whole piece was
intended for the adornment of a fountain. H. 029. [*]

582 OXFORD, ASHMOLEAN MUSEUM 162 — 1G9.

162 (Rawlinson). Statue of Eros sleeping. Chandler, 48.
Clarac, iv. 644 B, 1459 G (the sides are reversed in both drawings).
The boy is reposing on his cloak. Putting aside the restorations there
are now missing the arms, 1. leg, r. lower leg, bow and quiver ; only
pieces of the wings are left. The only remarkable point about the
specimen is its unusually large size ; from the crown of the head to
the knee it measures o'8o. [*]

163 (Wheler). Statue of Silvanus. Chandler, 80. The god
is standing, bearded and crowned, an apron of fruit before his breast,
a large branch of a pine tree in his 1. arm ; on his feet are boots.
Beside his 1. foot sits a dog. R. arm missing. Rough sculpture.
H.o-25. [*]

164 (Rawlinson). Statue of Neilos. Chandler, 73. The god
is bearded and recumbent ; he leans his 1. arm on the Sphinx, his r.
on his thigh ; his legs are covered by his cloak. His head is crowned.
Coarse work. H. o'25. L. o'36. [*]

165 (AH.). Statue of a recumbent Nymph. Chandler,
141. Prideaux, no. 126 (p. 263). Maittaire, no. 145. Upper part of
the body nude. The 1. arm rests on the rock, the r., which had at
some time been restored, missing. The head has wavy hair and has
been joined to the body with a new neck. Insignificant sculpture.
H. 0-46. [*]

166 (AH.). Statue of a recumbent female figure. Chand-
ler, 142. Prideaux, no. 126 (p. 264). Maittaire, no. 145. Montfaucon,
Ant. ExpL, SiippL, in. PI. 10. She wears a chiton and cloak, her
I. arm is supported on a cushion, her r. laid on her 1. shoulder. In
her 1. hand she holds a thick wreath (ijTro^u/it's). Her head is
crowned ; it has been badly battered about, but probably belongs to
the statue. The figure is bad and broken in many places. It was
most likely the lid of a cinerary urn. H. 0-37. L. 0-73. [*]

167. Modern statuette of a sleeping female figure ; nude,
but crowned and holding a wreath of roses over the lower part of her
body. [*]

168. Upper half of a female draped statue, over life-size,
extending to the navel ; the lower half once formed a separate piece.
The arrangement of the drapery is the same as in Wilton, no. i*^. A
hole has been cut to receive the head and neck, but they are missing.
Rough work, in bad preservation. H.o"5i. [*]

i6g. Upper part of a female draped statuette, preserved
down to below the 1. hand ; same motive as the Vatican " Pudicitia "
(Clarac, iv. 764, 1879). Pretty. H. ab. 0-30. [*]

OXFORD, ASIIMOI.KAX MUSKL'M I/O -\". 5. S3

170 (Dawkins). Fragment of a female draped statue.
Chandler, 41. She wears a girdled chiton and a cloak before the
lower part of her body and her legs. Preserved from above the
girdle down to the r. knee. Much battered. H. 074. [*]

171 (H. Clarke). Upper part of the statue of a Roman
in the pallium, his r. arm in front of his breast. From the neck to
ihe middle of the thigh is preserved; a hollow has been prepared for
the head and neck. Work flat, back quite rough. H. 0-44. From
Ephesos. [*]

172. Torso of a nude warrior, with belt for the sword,
resting his 1. hand on his hip. His head with the helmet has been
put on ; r. arm, legs, and the support have been restored. Insignificant
work. H. 0-68. [*]

173. Statuette of a youth, sitting on a mass of rock on which
he supports his 1. hand, his r. is before his breast ; his head is missing.
Lower down on the rock are the remains of a group, representing
perhaps some locar deities ; one figure reposes in the lap of another
that is sitting ; the upper part of the body of the latter has been re-
stored. Insignificant work, very much broken. H. o'42. [*]

174. Statuette of a youth, draped, with his legs crossed; he
supports his 1. side against a pillar, on which is introduced at the
bottom a comic mask with the mouth bored far through. Apparently
quite modern. H. 074. [*]

175. Statuette of a boy with a bird. A boy, standing on
his r. leg, had lowered his r. hand (arm missing) and is holding a
little bird in his 1. ; a cloak hangs from his 1. arm down to the
ground. A plait goes along the whole length of his hair at the
parting. H. 0-51. [*]

176. A foot, covered with a sandal, the straps of which may
be very distinctly seen. Chandler, no. The upper surface of the
marble where the foot is broken and a piece of the pedestal under
the foot show that it belonged to a statue of life size, and that it is
not a votive foot. [*]

177 (Dawkins). Terminal figure of Polydeukion, without
a head. It comes from a church, fallen into ruins, at Kephissia,
where Herodes Atticus had an estate. It is one of the numberless
monuments erected by Herodes in honour of the favourite whom he
prematurely lost (Philostn, Vitae sophist., 11. i, 12. C. I. Gr., 989 ff.
C. I. Att., III. 810 ff.). The inscription, which I have not compared,
and which is written on two sides, is given thus in the C. I. Gr.,
989:-

5 §4 OXFORD, ASHMOLEAN MUSEUM 1 78, 1 79.

"Hpws IIoXvScvKiwi', I

TattrSc iroT iv Tpio'|8oi5 (Tvv crol iTri\(TTpicjio/xr]v. |

IIpos Oeiov Kai Tjpiam^v^, \ octis el 6 t)(wv Tov \(j>poi', | /iij-TroTC /xera-
KeLVijarj\^i\ | tovtwv tl' koL tcis ToyTa)[v] | Tuiv ayaX/xaroiv £tKoVa[s] |
Kal T€i/u,ds oo-Tt? ^ Ka6c'A.[ot] I ^ fjLeTaKeivoiT], TOVTia fj.[rj~\\Te yrjv Kapirov
<j>ep€LV, fj.^rf^\T€ OdXacrcrcLv 7rX.(i)Tyv €T|vat, KaKuJs T£ a7roX£'tr^a[t] | avTOv?
Kal yivo%. ocrTt[s] | Se Kara )((opav <jivXdTTiji\y\ | Kal reipwv to. elmOora \
Koi ai)*a)V Siafx.evoi, iroAA[a] | Kat dyaOd etvai, tovtio koL \ avTuJ Kal
cKyoVois. I Xvp.rjva(jdai Sc /xr;S€ Aoj[[/37;]cracr6at p.r]Sev, ^ a7ro|[K]po£jo-at rj
(TvvBpavcrai fj | avvy^iai Tij's iJ.op(f)7Ji ^[ai] | tov <7)Q]ii.aT0%' ei Sc Tis
o[i)]|ru) Troir/crei, tJ auny Kai f [ttI toutois cipa.

II. 'AAA.' edv rd T£ £7r[(.] I ^E/uara tui' fji.o[p^'<jiwv daivl] Kal dK[t\\paia
Kal Ta u7rocr[Tr;]|/naTa ras jid<jei% (o[s] [ iiroirjOr^a-aV /cat £[v] | irpwrto y€
Kal iirl 7r[poj] |tois, octtis T] 7rpocrT[a'Jf]ct£V trepu) r; yi'co/iij[s] | dp^eicv yj
yviop.rj (nj[ju,]|/3aAotTO irepi to[i)]'to)V ti tj KiLVTqdrivo\i\rj avv)^v6rjvaL.
Pentelic marble. H. i'55. [*]

178 (Dawkins). Terminal figure of Aurelius Appianus
Chrestus. Chandler, 11. 61. Found at Athens, not far from the
" Tower of the Winds," which is situated somewhat to the west of the
former Gymnasion Diogeneion mentioned in the inscription below.
The term has no head ; drapery (xAaii/o, see below) lies round the
neck and on the 1. shoulder. Below the neck is the inscription
{C. I. Gr., 427. C. I. Att., III. 751) which I have not compared:

^'i](jn(Tap,ivr]'s T^s I [e]^ Wptiov Trdyov /SovjX^s TOV vov ToC | Kocrp.rp'ov
Avp{i]\iov) I 'A<fj<f>i.avdv H-prjarov \ ^apaOiuviov ol \ Trepl to Aioyivnov |

crvvdpxovTe'i \ dpeT/j'; eveKev. Below the distinctive mark of male
terms follow the verses :

"OoTis Kal TtVos 61/j.i, Tix I irpoaBiv ypdp.p.aTa ^pdi,e\_i\' \

dfx.<^l 8' e/iijs p.oipr]'; iras | iSdKpvare Xew;, |
ovviKcv ovK ecfjQjjv I ^Xatvav Trepi av^ei/t ^£0"^a[i] |

K(o/xu) iv riyadiia | Travcrajxevoi; fiiOTOv.

The third verse refers to the cloak, which was put on too late, in fact
first put on the terminal representation. The term belongs to the
second century A. D. Pentelic marble. H. 1-44. [*]

179 (Rawlinson). Bust of Zeus. Chandler, 87. Head not
bad ; the hair does not encroach too much on the forehead, and it

OXFORD, ASHMOLEAN MUSEUM l80— 196. 5S5

falls low down on to the neck behind. New : tip of the nose and
all the bust. Below life size. [*]

180 (Wheler). Small head of the youthful Dionysos,
crowned. Chandler, 82. Insignificant and much bruised. [*]

181 (Wheler). Small head of the bearded Dionysos.
Chandler, 77. With a fillet in his hair, that falls low down on
his neck. Hieratic style. [*]

182. Small head of a Satyr, with rough hair. Chandler, 84.
New : bust and nebris. [*]

183. Head of a laughing Satyr, witli ruftkd hair. Chandler,
86. New. [*]

184. The same. Chandler, 85. New. [*]

185. Head with long hair and Phrygian cap, on an unusual
pedestal ; nose battered. Chandler, 88. New. [*]

186 (Rawlinson). Head of a youth. Chandler, log. The
peculiar arrangement of the hair and the whole character remind us
of the so-called heads of Ptolemy. Broad fillet through the hair.
New : neck and bust. Below life size. [*]

187. Bust of an elderly Roman. Chandler, 100. The
small head, which is not bad, resembles Claudius. [*]

188 (Rawlinson). Bald-headed Roman. Chandler, 94. He
wears a wreath. New : nose, back of the head, and bust. The rest
is so injured that the only thing we can say about it with certainty is
that it is not a portrait of Caesar. [*]

189 (Rawlinson). Bust of a Roman, in corslet. Chandler,
93. He looks wild, and his hair is disordered. Quite new. [*]

190. Bust of a Roman old man. Chandler, 97 (bad). He
has a bald head, and half the back of it is missing. Bad work. [*]

191. Small bust of a Roman old man. New. [*]

192. Remains of a head of a Roman old man. Veiled.
Face only preserved, and that badly knocked about. Life size. [*]

193. Modern head, on a modern mailed bust of dark stone.

[*]

194. Small head of a boy. Chandler, 83. The nude bust is
new, and a ribbon goes right across the breast. [*]

195. Child's head, of bronze, on a bust of giallo antico.
New. [*]

196 (Rawlinson). Youthful head. Chandler, 90. Round the
smooth hair and the forehead a narrow ribbon is drawn. The head
is smooth, the mouth so deeply cut as to give the impression of a
mask. Life size. [*]

SS6 OXFORD, ASHMOLEAN MUSEUM I97 — 202.

197. Small head of an elderly lady, with her hair dressed
ill a roll over her forehead. Bad, and also much injured. [*]

198 (Rawlinson). Female portrait head. Chandler, 89 (not
accurate). Hair parted and smoothed back from the forehead, some-
what thicker on the temples. A fillet passes round the hair, in which
are nine deep holes, besides six similar holes close behind them for a
metal wreath or some other ornament. Originally the head was not
bad, but now it is much knocked about. Over life size. [*]

199 (Rawlinson). Bust of a Roman lady. Chandler, 107.
The plaits on the top of her head resemble an inverted basket. Nose
new. Bad sculpture. Life size. [*]

200 (AH.). Sulpicia Canni. Chandler, iii. 6. A massive
head, more like that of a young girl than of a woman. The hair is
brushed back and forms a flat plait along the parting. Pupils ex-
pressed. Nose missing. The draped bust belongs to it, so does the
slab on which it rests. On this slab stands as if cut in with a knife
Sulpicia Canni (S. consort of Cannius, or C. Annius) ; it appears to
me very doubtful whether its origin is antique. The bust finishes
below with a round disc. H. 0-51. ["-"]

RELIEFS, etc.

201 (Dawkins). Altar of Zeus Labraundes. Chandler, 11.
1 2. On the front the Carian double axe (Xdlipvs) is depicted ;
below in careful writing Atos AajSpawjSou, then in careless characters
which also differ palaeographically, koi Ato? /j,€ytcrJTou (C. I. Gr.,
2750). H. o'35. L. 0-29. The altar comes from a Turkish burying-
place between Aphrodisias and Hierapolis in Caria. [*C']

202 (AH.). Altar of Herakles. Chandler, iii. 9. Prideaux,
no. 139. Maittaire, no. 139. Montfaucon, Ant. ExpL, Sii/>pL, i.
PI. 54, I. Front. Herakles is represented as a child strangling
the five-headed Hydra with both hands (not the two snakes). This
relief is surrounded by the inscription coarsely hewn in : Z'(/j)
M{anibus) L(ucio) Marcio \ Pacato filio d\ulcissimo \ fecit Ro\dope
ma\ter in\\_f'\clici\ssiina, \ qui v{ix)it annos \ XV m(enscs) Villi d{ies)
Vim. — -R. SIDE. Herakles, beardless, strikes at a large Stymphalian
bird with his club, he has seized it by the neck and is holding it.
— L. SIDE. Herakles, bearded, is kneeling on the back of a Centaur
whom he has thrown to the ground, and whose hands are chained
behind his back ; with his 1. hand the victor seizes the Centaur's
head, while he swings the club against him with his r. hand. — Back.

OXFORD, ASIIMOLKAN MUSEUM 203, 204. 587

Herakles' arms, the lion's skin and the club, the broad quiver
(ywpvTos) and the bow. — The reHefs are deHcately and prettily
executed; so much the more disfiguring therefore is the inscription
on the front ; no doubt it was added afterwards, when the little altar
was to be turned into a sepulchral monument. H. o'42. L. 0-26.

D. 0-2I. [*C]

203 (Dawkins). Fragment of an Attic votive relief; 1.
half. Chandler, 117. Of the frame the anta on the 1. and the archi-
trave with tiles on the top are prcsen/ed. A man in a cloak and two
veiled females approach from the 1., then two girls somewhat smaller
without veils, and a female attendant with a large box on her head ;
before them is a sacrificial minister in an apron, driving a pig forward,
also a boy and a girl. Of the personages to whom the sacrifice
and the adoration are offered, we see only a r. arm akimbo with
some indistinct object in the hand ; the figure to which it belonged
must have been much larger and was evidently standing. We can-
not therefore take it for the deceased heroically treated on his couch
(cf. nos. 144 — 146), but presumably it is Asklepios with his relatives
(cf. Mitthcil. des archaeol. Inst, in A then, 1877, PI. 18. Arch. Zeit.,
1877, pp. 139 ff.), or some other god. For the rest cf. above, no.
88. Sculpture of the fourth or third century b. c. Pentelic marble.
H. 0-66. L. 0-47. [*C]

204 (AH.). Sepulchral stele of Philista. Chandler, 11. 89.
Prideaux, no. 68. Maittaire, no. 35. Montfaucon, Ant. Expl,
Snppl., V. PI. 7, I. Stele in excellent preservation. Above, a pedi-
ment with denticulations on the geison, in the field of the pediment
a rosette. On the frieze is the inscription ^iXiarav Me/xi'oi'os (C. /.
Gr., 3254); below, two rosettes, and in a hollowed square field a
laurel wreath enclosing the words o S^/xos (cf. above, no. 149). Be-
low this, the architrave with dentils supported by two Corinthian
pilasters. In the very deep rehef field we see Philista in chiton and
a fine, transparent cloak, trimmed with fringe ; she is veiled. Her r.
forearm, concealed by the drapery, lies across her body and her 1.
elbow is supported on it, her hand gracefully holds the hem of her
drapery up to her neck. The inclination of her head, and her down-
ward look directed to the little dog (jueXtTatos) that is jumping up
by her r. foot, have a particularly charming effect. To the 1. stands
a low pillar, with a basket (KuXa^os) on it; beside it a diminutive
female attendant in chiton, opening the lid of a little box. On the
r. is another pillar, somewhat higher, with a large box on it; beside it
a similar attendant (head missing) wl-,o is laying her r. hand on a

588 OXFORD, ASHMOLEAN" MUSEUM 205, 206.

closed box. Under the relief is a high, moulded pedestal. The
relief belongs probably to the second century b. c. ; it has been
executed with evident love and care, so that the architectural adorn-
ments are even extended on the sides. It is one of the best
examples of its style; also remarkable for its good preservation.
Relief very high, nearly o'i2. It comes probably from Smyrna.
Yellowish marble. H. 1-79. L. o-8o. [*]

205 (Selden). Sepulchral stele. Chandler, r43. Prideaux,
no. gi. Maittaire, no. 144. Montfaucon, Au/. Expl, SuppL, v.
PI. g. Similar to no. 204, now without pediment, which was probably
sculptured out of a separate piece ; the lower geison with dentil is
still extant. On either end of the frieze is a rosette and between
them two hollowed square fields with a laurel wreath each; there are
no inscriptions now, they have probably been chiselled away. On
the architrave, which is in two belts, the inscription is also destroyed.
The relief field, which is hollowed out to a considerable depth, is
enclosed on either side by Corinthian half-columns. In their relative
positions the two principal figures resemble those in no. 89 : the
young man to the 1., in his long chlamys buttoned on the r.
shoulder, and with a quiver and straight bow on his back, is almost
turning his body away from the female figure, he looks however
on the ground towards the centre; his r. arm is lowered, his 1.
arm raised in front of his breast. The female figure, to the r., has
exactly the posture of Philista (no. 204, cf. nos. 89, 90). Between
the two stands a diminutive female attendant, with her legs crossed
and in the attitude of the Vatican Pudicitia ; on the 1., by the pillar,
near the man, are two diminutive attendants in short chitons, pressed
very close to each other. On the high pedestal may be seen a
round box with the lid beside it, another round box, a high goblet-
shaped vessel, a hat (?), and a high cup or a basket. A pretty good
example of this style, but not to be compared with no. 204; pro-
bably also from Smyrna. H. I '22. L. 0-64. [*]

206. Sepulchral stele of Leukaios. In the pediment is
a rosette. Below the pediment, in a square slightly hollowed out, is
a wreath, without inscription : below it Acvxatos KaXXiVTrou (not in C.
I. Gr.). In the relief field stands Leukaios, so much knocked about
that only his cloak and shoes can be recognised. To the r. a diminu-
tive attendant in a chiton, with his legs crossed and his arms lowered,
is leaning against a tree round which a snake is twined. To the 1. is a
pedestal, before which a little dog (/xtXiTuios) is jumping up. On
the pedestal is a thick slab, with three fruits on it, then a high

OXFORD, ASHMOLEAN MUSEUM 207— 212. 589

ithyphallic terminal figure, with demolished head and two projections
instead of arms (cf. Ince, no. 260). The whole of this group stands
on a pedestal on which a round shield and two upright oval objects
(greaves?) are depicted in relief. The monument belongs to the
second (or first?) century B.C.; it comes probably from Asia Minor
or the Archipelago. Grey marble. H. 072. L. o'34. [*]

207 (H. Clarke). Fragment of a Greek sepulchral relief.
A man, the upper part of whose body is nude, is lying on a couch,
before which stands a high altar of incense {6vfj.iaTrjpiov). He is
reaching with his r. hand for the torch with which a figure, now
almost destroyed, seems about to set light to the incense. Very
high relief, much defoced. From Ephesos. H. 0-37. L. 0-27. [*]

208 (ISurgon). Sepulchral relief. A horseman, in a chlamys,
is riding to the r. towards a pine tree. In his r. hand he holds out a
cup to a serpent, that is twisting itself from the tree towards him.
Near the tree is a diminutive attendant in chiton and chlamys, raising
the r. and lowering the 1. arm. Under the horse is a litde dog. To
the 1. in the field a roll and a box. Coarse white marble. From
Pergamon. H. o-6o. L. 1-02. [*]

209 (AH.). Sepulchral altar of Q. Avilius of Lanuvium.
Chandler, in. 7. Round altar, ornamented with four bulls' heads,
over which a thick garland is hung, adorned with fillets and laden
with grapes (cf. above, nos. 96 — 104). Above, the inscription : Q
Avili C f Lanv'me salve; below: Kdu're AviAAic Valov v\\ 'P(j}/ji.at€ \
)(pr]<TT(. x"V^ (C. /. Gr., 6894). Probably from Rheneia (cf. C. I.
Lat., III. 486). H. 0-84. [*C]

210. Similar sepulchral altar, adorned only with bulls' heads
and garlands. H. 0-67. [*]

211 (Dawkins). Cippus of Atika. Chandler, 11. 91. The
monument is in the form of a square altar, left rough at the back,
and without ornament on the two sides. In front is a veiled female
figure, seated, her head supported in her 1. hand. In front of her
stands a female attendant offering her something. Above, in very
large letters, the inscription : 'Atikci Aa/xt/'ios | yunj 'HpoSwpoi; (C. /.
Gr., 6893). The monument comes probably from Asia Minor or the
Archipelago. H. 060. L. 0-42. D. 0-42. [*]

212 (AH.). Cippus of Fabius Rufinus. Chandler, iii. 8.
On the front Cupid is represented, holding in his raised r. hand a
stout indistinct object ; his 1. hand was lowered and is knocked off.
Coarse relief. Above: Memoriae \ FabiRufini; below: Fabius Justus.
H. 0-65. L. 0-50. D. 0-39. [*]

590 OXFORD, ASHMOLEAN MUSEUM 213 — 2 1 8.

213 (AH.). Cippus. Chandler, 154. Underneath a tablet,
that is almost entirely modern, may be perceived the closed entrance
to the tomb. On either side a laurel tree with birds. H. o'52. L. o'33.
D. 0-30. [*]

214 (H. Clarke). Sepulchral monument of L. Pompeius
Marcellinus. Above, in relief, a pediment; below, a bearded horse-
man, in chiton and fluttering chlamys, with his sword by his side,
galloping r. and brandishing a spear. Underneath, the inscription
(C. I. Lat., III. 435): L. Fompeio L.filio \ Fabia Marcellino \ Roma,
triipitno) coh{prtis) prt{mae) \ Ligur{um), vixit annos | XX- III- (sic)
me?is{es) V dies XL | momimenium fecit \ Flavia Marcellina \ mater
et I Poinpeia Catiillina \ soror. | h{pc) m(ptiumentuni) \/i{eredem) niony]
s(eqiiitur). From Ephesos, whence it was brought to Smyrna ; at
this place Waddington copied it. H. i'49. L. 0-59. [*]

215 (AH.). Cinerarium. Chandler, ni. 11. Two boys are
carrying a garland, and within the field it encloses is a tablet with
the inscription : D{is) M{anibus) \ PuUiliae \ Spei, \ vix{it) a?i{nos)
XVI \ )n{c>ises) VIII d{ies) XVI III. On each of the sides a gar-
land. On the lid are two torches, lying. H. 0-28. L. 0-33. D. 0-24.

[*]

216. Remains of a cinerarium, broken off at the top. In

the centre is a boy turning r., and at either end a girl, draped. They
support two garlands, and each garland encloses a head of Medusa.
H. 0-26. L. 0-69. [*]

217. Fragment of a relief, perhaps from a sarcophagus.
Chandler, 130. R. upper corner: a Cupid, with the bow in his 1.
hand, and carrying on his r. shoulder a well-filled basket. Much
abraded. H. 0-35. L. 0-30. [*]

218 (H. Clarke). Two fragments of a sarcophagus, with
rich mouldings above (kymation and astragalos). I. Beardless head,
helmeted, turning 1. and blowing a trumpet. Behind, a piece of a
shield seen from the inside. II. Bearded head, turning 1., and a
shoulder. This head is larger than the other : perhaps because the
figure was sitting. Both heads, which are in very high relief, intrude
into the moulding. These fragments come from Ephesos, and they
remind us of the Ephesian Achilleus sarcophagus in Woburn (no.
219), though they cannot belong to it. Perhaps they are fragments
of a representation of Achilleus in the midst of the daughters of
Lykomedes, like the sarcophagi in the Capitol and the Louvre (cf
Cambridge, no. 76. Woburn, no. 117); possibly they are the heads
of Agyrtes the trumpeter and of Lykomedes. H. abt. 0-21. [*]

OXFORD, ASIIMOI.EAN MUSEUM 219 — 226. 591

219 (II. Clarke). Fragment, apparently of a similar sarco-
phagus, representing a sphinx with large wings sitting to the r.
(head missing) ; above the wings a piece of a cloak is visible. Be-
hind the sphinx are the remains of a maeander ornament, belonging
perhaps to a border that may have encircled the sarcophagus below.
H. 0'42. L. 0-37. FromRphcsos? [*]

220 (Rawlinson). Slab with masks. Chandler, in, 112.
Front. Three masks in high relief. To the 1. a youthful Satyr
with a fillet in his hair, to the r. Dionysos with a long pointed
beard, and Ariadne. Back. Quite low relief. Head of the bald-
headed Seilenos, turning to the 1. ; in front of him a piece of a
thyrsos. On the extreme 1. signs of an altar and flames on it.
H. oiS. L. 0-28. [*]

221. Fragment of a very thick marble slab. Chandler,
II. 59. To the 1. the remains of a boy carrying a wreath, coarsely
executed. To the r. an inscription tablet, which contains the con-
clusion of a menace of punishment (C /. Gr., 7023): Sojo-ei ih \
^aifjapo^ I i^io-Kov''',/3^'|Kat £ts ttjv \ noXiv^' ^^(f/ (2500 denarii to each).
Underneath the remains of a further inscription, perhaps el ix[rj etc.
H. 0-28. L. 0-48. [*]

222 (Rawlinson). Relief of a crowned head. Chandler, 92.
New. [*]

223 (Rawlinson). Portrait medallion. Chandler, 108.
New. [*]

224 (H. Clarke). Fragment of a pilaster, representing a
candelabrum. The pedestal is triangular, and it rests on feet which
are like those of a sphinx ; draped female figures form the relief of
the pedestal. Above, rich akanthos cups and architectural mould-
ings are intermingled with masks, rams' heads, swans, and eagles.
Broken off at the top. H. i'52. L. 0-35. D. 0-20. From Syracuse.

[*]

225 (H. Clarke). The same. The stem of a palm tree rises
from a richly ornamented round pedestal ; from the tree hang dates,
and above, the palm leaves form a tuft. H. 2-24. L. 0^34. D. 0-26.
There is a projection of the depth of o-i6 intended to be let into a
groove. From Syracuse. [*]

226 (H. Clarke). The same. Ornamented in front with en-
t\vined vine-sprays. Behind projects a narrow perpendicular listel,
with two holes ; perhaps a hand-rail or balustrade was to have been
joined on there. H. 2-24. L. 0-35. D. 0-27 and 0-15 for the pro-
jection. From Syracuse. [*]

592 OXFORD, ASHMOLEAN MUSEUM 22/ — 237.

I could not find, or have overlooked, the following specimens :

227 (Wheler). Double terminal bust, apparently feminine.
Chandler, 75.

228 (Th. Shaw). Terminal bust of Dionysos, crowned with
ivy. Chandler, 76.

229 (Th. Shaw). Terminal bust of Hermes, with a long
beard, and wings on his hat. Chandler, 78.

230 (Wheler). Head of the bearded Dionysos (?), crowned
with ivy ; not archaistic. Chandler, 79.

231 (AP.). A piece of a moulding with portrait bust of a
man over it, apparently part of a sepulchral monument (cf. nos. 91,
155). Chandler, 95.

232 (Rawhnson). Bronze bust of Socrates. Chandler, loi.
Suspicious.

233 (Rawlinson). Bronze bust of Plato, with a Latin in-
scription. Chandler, 102. Apparently a copy of the Florentine
bust (Visconti, Iconcgr. Gr., i. PI. 18 A).

234 (Rawlinson). Fragment of a relief, 1. end. Chandler,
131. A young Satyr, with nebris across his breast, appears to be
quarrelling with another Satyriskos. Of the latter remain only traces
of joints and a hand, with which he is seizing his adversary by the
hair. Both arms missing.

235 (Dawkins). Corinthian capital. Chandler, 165. Very
similar to the one in no. 1 30.

236 (Dawkins). Fragment. Chandler, 11. 14. Underneath a
wreath is the inscription [Ou]>;8tos Bapyos (C. /. Gr., 36S3). From
Kyzikos.

There are also in the Museum a considerable number of terra-
cottas, lamps, handles of amphoras, stamped tiles, etc.

All Souls College.

In the Library stands the following :

237. Marble stand. On a round pedestal crouch three lions ;
upon which three female figures stand in a stiff posture, seen in full face.
They wear each a long chiton, and both arms lie on their bodies ;
long plaits fall on their shoulders, and on their heads they wear each a
modius. Behveen their backs rises, from the centre of the pedestal,
a strong circular support contracted in the middle and having
a torus wound round it. This support is terminated above by a

OXFORD, CHRIST CHURCH 238— 24O. 593

round slab, which has the appearance of being carried by the women.
A round hollow in the surface of the slab seems to show that a large
cup, or candelabrum, or something of the kind, was to be let in
here. Late, rough art. H. o'66. Diameter, below, 0-52; above,
o'37. According to an inscription in the ante-room, Anthony Lefroy,
Esq., presented to the college in 1771 this " arain tripodem olitii
matri deum in templo S. Corinthi consecratam." [*]

Christ Church College.

There is now only left the following specimen in the Library :

238. Modern bronze copy of the bust of the "methodical
physician" M. Modius Asiaticus, in Paris; of. on Wilton, no. 78.
The former possessor of the original, the Chancellor Da Pont-
chartrain, had it moulded by Girardon and then cast in bronze ;
the copies were a perfect success (Caylus, Recueil, VL p. 142). Our
specimen, which was presented by the Hon. Frederick Campbell in
1809, is proved to be a copy by some mistakes which are found in
the inscription. [*-5]

At one time the college possessed some more marbles, among
them :

239. A presumed bust of Cicero, and

240. A group, from Pella in RL\cedonia, consisting of a
woman and a boy ; unfortunately its surface had been much injured
(^V'aagen, Treas., m. p. 49) ; finally several modem busts. Of these
marbles only broken pieces are in existence now in one of the upper
rooms of the college, for on the occasion of a bonfire made years
ago in the quadrangle of the college by the students, all the busts
were carried out and placed too near the fire. The marbles turned
black, and, no doubt from anger at being so ill treated, sprang into
pieces ; only the aeneum pectus of the " methodical physician " sur-
viving this ordeal of fire.

Radcliffe Libr.vry.

Here are preserved, besides some plaster casts, two large
marble candelabra. Both of them were found in fragments by
Gavin Hamilton, 1769, in Hadrian's Villa, in the place called
M. C. 38

594 OXFORD. RADCLIFFE LIBRARY 24 1, 242.

Pantanello. They were restored under the direction of Piranesi, and
thus sold to Sir Roger Newdigate, who presented them to the
Raddiffe Library; this happened before the year 1778, when
Piranesi's Vasi e Candelabri appeared. Volkmann {Reiscn, in. p.
31), Spiker {Heise, 1. p. 25), and Waagen {Treas., iii. p. 50) saw
them in the Library. Unfortunately my attention was directed to
them too late for me to be able to examine them myself. Neverthe-
less, the engravings make it evident that both these specimens are
seriously restored and in great part modern. They are striking
examples of those pasticcios to which, as they answered the taste of
that epoch, Piranesi as an art dealer owed a great deal of his reputa-
tion and of his extraordinary success; one may compare the cele-
brated candelabrum in the Louvre, likewise composed by Piranesi
from different antique fragments in a most arbitrary way (Piranesi,
Vasi, I. PL 30, 31. Bouillon, in. CandiL, PI. i. Clarac, 11. PI.
141).

241. Marble candelabrum. Piranesi, Vasi e Candclabii, \.
PI. 25 — 27. Penna, Viaggio della Villa Adriana, iv. PI. no. Dallaway,
Of Slatuary, PI. 28. Three lions' legs and between them a stem
ornamented with leaves, all of which rest on a low triangular base,
support a triangular pedestal tapering towards the top. The angles
of the main portion are formed by eagles in an awkward posture ;
between them on each side appear Bacchic masks {a, two Satyrs,
the one youthful, the other bearded, leaning against each other;
b, bearded head, possibly of Dionysos, in full face; c, unknown).
Above, a kind of ornamented capital with a group of two dolphins
entwined together on each of the three corners, and between them
with shells and floral patterns. The latter extend at the top on an
abacus, which ends in a ram's head at each of the three corners.
Over each ram's head is a large crane standing upright. In the
middle of the three birds a very tall stem, or capital as it were, is
erected, ornamented with sprays, leaves, and Medusa's heads. On
it rests a round pedestal, shaped like a trochilus ; it supports a flat cup
or basket full of snakes. In the midst of these rises a kneeling
youth, of robust forms, with both arms bent behind his shoulders.
He serves as a Tdamon or Atlas, bearing on his head and his fore-
arms a large, low cup, which forms the top of the whole cande-
labrum.

242. Marble candelabrum. Piranesi, Vasi c Candelabri, w.
PI. 96, 97. Penna, Viaggio della Villa Adriana, iv. PI. in. On
the corners of a low triangular base are three large lions' legs ending

OXFORD. PENRICE CASTLE. I'KNSIIUKST. 595

in lions' heads wliich, together with a bulky, fluted stem placed in
the middle of them, support a very high triangular structure tapering
towards the top and composed of a rich variety of ornamental
members. The undermost of these is decorated with goats' skulls,
garlands and sacrificial instruments {apex, pail, cup, knife, etc.).
Higher up, over some rows of floral ornaments, come three Sphinxes
lying at the corners, their tails ending in ornamental sprays. Above
them follows a rather high section looking very modern, the principal
decoration of which are three huge elephants' heads. Above, a
triangular pedestal of a common species (cf. Broadlands, no. ii.
Newby, nos. 8, 41). On its sides are reliefs : {a) Athene, standing
full face, in chiton and aegis, helmeted, holding a spear in the r.
hand and a shield on the 1. arm ; she looks towards 1. ; {b) behind
her, a youth (called Silvanus by Piranesi), clad in a short chiton
which leaves the 1. part of his breast exposed ; he goes, or rather
falls, towards 1., with the head, which is crowned, sunk on the breast
and both arms hanging down by the body ; the 1. hand seems to
hold some object; {c) the youthful Herakles, running 1., holding
his club in both his hands, the lion's skin fluttering behind his back.
From the upper corners of this pedestal project three rams' heads.
The topmost part of the candelabrum exhibits a rich series of various
round, moulded members, architecturally ornamented ; the top is
formed by a large, low cup. H. abt. 2-20 (10 pal. io| on.).

PEN RICE CASTLE (Glamorganshire, Wales).
At this ancestral mansion of the Mansel family, 12 miles from
Swansea, there is, according to what I was told by the gardener
at Margam, the sarcophagus described by Dallaway, p. 348 (11.
p. 96), under no. 18 of the Margam collection, as "fluted, with
cover, in the middle the group of the Graces." For other antiques
see under Margam.

PENSHURST (Kent).
Dallaway, p. 382 (11. p. 134).

There exists only a faint tradition about an older collection of
antiques at this seat of the Sidneys, hallowed by poetry and historical

38— 2

596 PEXSHURST. PETWORTH HOUSE.

reminiscences, cf. Introd. § 13, note 28. At present only a number
of busts, brought from Italy by Mr Perry about 1740 (Introd. § 41)
are to be found there, in the possession of Viscount de Lisle and
Dudley ; nothing more definite is known to me about them.

PETWORTH HOUSE (Sussex).

Dallaway, pp. 278 ff. (11. pp. 12 ff.). Volkmann, Reisen, i. p. 361.
K. O. Miiller in Bottiger's Amalthea, m. pp. 249 ff. { = Kunsf-
archiiolog. Werke, 11. pp. 81 ff. ; indicated below by an m). Clarac,
HI. p. 60. Conze, Arch. Anz., 1864, pp. 238 ff. Waagen, Treas., 11.
p. 32, devotes only a brief and undeservedly disparaging notice to
the statues. I examined the collection in the year 1877, at leisure
as to the statues, in a more cursory manner as to the busts.

This ancient seat of the Percys of Northumberland, to whom is due
for the most part the truly princely collection of oil paintings, now in
the possession of Lord Leconfield, stands in close contiguity to
the town of Petworth. The founder of the collection of antique
sculptures was Sir Charles Wvndham, from the year 1740 a
member of the Society of Dilettanti, who became in 1750 second
Earl of Egremont. In his task he availed himself of the services
of the expert architect Matthew Brettingham, junr., then resident in
Rome (Introd. §§ 42, 43), who, in collecting these valuable and on
the whole well-preserved antiques, evinced a skill equal if not
superior to that exhibited at Holkham (cf. Dallaway, p. 271; Payne
Knight, letterpress to Spec, i. PI. 72). The fact that Gavin Hamilton
is also mentioned as receiving commissions from the Earl on the most
liberal terms (Dallaway, Of Statuary, p. 318; cf no. 6) forms no
contradiction to the above statement, as Brettingham and Hamilton
were intimate friends (Introd. § 44). The collection was formed
between 1750 and 1760, but when the collector died in 1763, "the
cases containing these statues were not unpacked " (Dallaway, p.
319). The earl's son and heir George O'Brien Wyndham, third
Earl of Egremont (d. 1837), was at that time a boy of only twelve
years old. He appears to have sold some antiques at a later date,
according to the following letter from Brettingham to Townley,
July 31, 1778, which I found among Townley's jiapers in the
Bodleian Library at Oxford (" Memorandums of Marbles, &c., Sic,
on Sale in Italy and elsewhere") :

rETWORTII HOUSE.

597

Dear S",

I have a Commission from Ihe Earl of Egremont to dispose of 5 or 6
more of his Lordship's Statues chiefly from Petworth, among which is a curious
Silenus with a Laskt-t on his head [no. 54], and allso ten or a dozen Bustoes

Then follows an invitation to Townley to inspect the marbles at
Pimlico ; an enclosure adds the following list :

Antique Statues and Busts belongh

' to the Ear! of Egremont.
Height

A Diana, the Arms and hands only restored .
-Silenus with a basket [no. 54]
Diana Cacciatrice [no. 17?]

A Muse [no. 11?]

A female drapery figure carrying a rabbit and

from the market [no. 16]
Fecialis with a young pig for sacrifice [no. 53]
A small Diana Cacciatrice [no. 52 ?]
Juno, a capital Bust of [no. 27]
Julia Mamea, a Head [no. 46? 66?]
Lucilla, a Bust ......

Marciana, do. [no. 60?]
Faustina Maggiore, do. [no, 59 ?]
Faustina Minore, do. [no. 67? Dall. no. 25?]
A Muse, do. [no. 29?] ....

A Man's Bust incognito ....

Julia Pia [no. 46 ? 66 ?]

A Head of Bacchus [no. 21 ? Dall. no. 50] .

.liuation
i.

200
100
100
80

100
100

Most of these statues can be identified with sufficient certainty to
enable us to say that the purchase as a whole did not take place.
Only no. i was transferred at a later date to the Buckingham
Collection at Stowe, and is now to be found at Lowther Castle
(no. 3). Of two statues mentioned by Dallaway, no. 9 (Matron
draped, resembling Agrippina) and no. ig (Vestal), only one can now
be traced in Petworth (no. 11). On the other hand a few pieces
which Dallaway in 1800 does not enumerate, have found their way
here through the third Lord Egremont, notably the group no. 12
(cf. nos. 40, 46). Unfortunately this owner prevented Brotherton,
Count Clarac's draughtsman, from completing the drawings of the
entire collection, so that many interesting specimens are still un-
published.

598 PETWORTII HOUSE I— 4.

STATUE GALLERY.

As man-y specimens, especially busts, have had no definite place
assigned to them, it seems most suitable for my purpose to classify
separately the various kinds of sculptures, and so to begin with the
Statues. I commence at the window on the r. of the entrance.

1. Statue of Ganymedes. Cavaceppi, Race, i. PI. 13.
Clarac, III. 410, 701. Dallaway, no. 10. The powerful youth, whose
breast, back, and 1. arm are covered by the chlamys, is resting his 1.
hand in a rather unnatural manner on the wing of the large eagle that
stands by him. He leans so heavily in fact that his shoulder is much
forced up. New : neck and head, the r. arm with the drinking-cup,
the beak and half the 1. wing of the eagle ; otherwise the whole group
is antique and unbroken. The execution is Roman and not remark-
able ; the youthful softness of body appropriate to a Ganymedes is
wanting. Pentelic marble. H. i'83. [*CV;/]

2. Fragment of a female statuette, preserved down to the
stomach. The form is quite enveloped in the cloak, which covers
the r. arm so that only the hand protrudes from the cloak in front of
the breast. The 1. arm was originally laid back. Neck and head,
possibly new, are let in to the drapery; on the head a stephanfe.
H. 0-30. [*■]

3. Female portrait statue (" Agrippina as Ceres"). Cava-
ceppi, Race, \. PL 12. Clarac, v. 930, 2366. Dallaway, no. 23. The
fitrure rests on the 1. leg, the r. foot being slightly drawn back. A
fine, ungirdled chiton falls down to the feet; the cloak, with one
corner flung over the outstretched 1. arm, envelopes the body and legs.
The drapery has been very little repaired and is in excellent preser-
vation, but its treatment is dry and it has been much re-worked by
Cavaceppi. The upper parts of the arms are lowered. New : the
forearms from the cloak onwards, the r. hand holding ears of corn.
The head and neck have been let in, but probably belong to the
statue. New : nose and parts of the stephane. In front of the high
stephane three rows of crisp curls extend over the forehead, on either
side long ringlets descend to the shoulders. The face inclines slightly
to the 1. shoulder ; it is pretty, with gentle expression. The head
reminds one of the so-called Domitia in the Vatican {Mus. Pio-Clem.,
in. PI. 5. Clarac, v. 940, 2405), without however being identical with
it. Parian marble. H. I'S;. \^BCm'\

4. Statue of Hera, colossal scale. Dallaway, no. 17. Most
nearly allied to the beautiful Farnese statue (Clarac, lu. 414, 723 B).

I'ETWORTH HOUSE 5. 599

She rests on the 1. foot, and wears an ungirdled chiton and a cloak.
The latter covers her 1. shoulder, body and legs, is gathered into a
bunch in front of her stomach and then thrown over her lowered 1.
arm ; the r. shoulder is raised. New : head with stephanfe, the r.
arm, and the 1. hand from where it issues from the drapery. Good
work. Parian marble. H. 2-05. [*C«]

5. Statue of Apollo (" Apollo Egremont "). Spec, i. 62 ;
11. 45. Clarac, in. 496, 966. Muller-Wieseler, 11. 12, 133. Braun,
KunstmythoL, PI. 47. Dallaway, no. 7. This celebrated statue por-
trays the god resting on his r. leg, with the 1. leg slightly bent ; the
r. arm has always been lowered, in the 1. he carries the large cithara.
The most peculiar part is the very wide cloak. This is buttoned
together on the r. shoulder as if it were a chlamys, and so falls open
along the whole length of the body. On the 1. side as well it is gathered
up on to the shoulder, so as to set this arm also free for the cithara (cf.
Clarac, iv. 663, 1535). The cloak is therefore divided into what we
may call two wings, one in front, and one behind ; the folds are very
deeply undercut and in front they lie very near together, producing
a particularly rich effect ; but a more marked alternation of principal
and subordinate parts would be requisite for grandeur. On the feet
are sandals. The young, beautiful head is gently inclined to the
1. shoulder, the forehead is low, and the long hair is brushed back
from it and falls down on the neck and shoulders. The face has
an expression of composed, thoughtful inspiration, as though the god
were listening to the strains of his own music. Near the r. ear one
curl has escaped the mass of tresses. Behind the r. foot is an
omphalos entwined with woollen fillets (crT£/x/iaTa, vittae); it is hardly
visible from the front, but serves to support the cloak behind. On
the front of the pedestal are visible the remains of a wreath of laurel
in quite flat relief. New : nose, r. arm with the plectrum, half the 1.
forearm, half of the front horn (n^x"5> ornu) of the cithara with
almost the whole of the upper bridge (^vyoV), half of the lower part of
the 1. leg down to the foot, and sundry edges of the folds of the
drapery. The head and neck have been let into the figure, but,
although they are of a much whiter and more finely-grained marble,
they undoubtedly belong to the statue ; for it is not at all uncommon
in draped statues that the head should be executed in finer marble than
the rest (cf. Lansdowne House, no. 67), and of the long curls one fits
exactly to the piece on the shoulder, three others having been con-
nected by inserted pieces. Parian marble. H. 1-65, pedestal o-io.
Very similar to, if not identical with, the statue in Cavalieri, Aiitii;.

600 PETWORTH HOUSE 6, 7.

Statiiarum, I. iii. ct iv., Rome 1594, PI. 35, "in aedibus Victofi-
arutn." [*Cw]

6. Statue of a Satyr pouring out wine. Dallaway, no. 16.
A replica of the statue which recurs in so many examples, probably
copied from Praxiteles ; we find it in London, Dresden, Villa Ludo-
visi, Madrid, &c. (Clarac, iv. 677, 1576; 712, 1695. Brit. Museum
Marbles, xi. PL 40. Miiller-Wieseler, 11. 39, 459). The youthful
Satyr is resting on his 1. leg, in an extremely pleasing attitude, by a
square pillar which serves him as a support. The 1. arm is lowered and
the outstretched 1. hand held a cup into which the Satyr was pouring
wine from an ewer in his upraised r. hand. A rather large tail may
be seen behind New : head, r. arm including shoulder, with the
bunch of grapes in the hand, almost the whole of the 1. arm with
the exception of a small piece on the shoulder ; on the 1. hip we see
the place where the arm originally joined the leg, but the indication
has been neglected by the restorer. New also : the lower part of
the r. leg and the greater part of the pedestal. The 1. leg and the
pillar have never been separated either from the body or from the
pedestal. The work is fairly soft, but not so good as in the Dresden
copy (no. 114) or in the one in the British Museum (Graeco-Roman
Sculpt., no. 184). The following inscription is to be seen on the
front of the pillar towards the outer edge,

AnOAAfiN'Ol

It appears to me unquestionably new (cf Arch. Zeit., 1880, p. 17,
n. 29). The letters look as if they had been slightly scratched in
with a knife, in an unsteady and disorderly manner, without any
previous arrangement as to space, for which reason the 2 had to
find room below. Dallaway and Miiller add EnOIEI, of which
neither Friederichs, nor Conze, nor myself could find any trace ; one
only sees the remains of some untidy scratches below the letters AIIO.
Consequently the name of Apollonios cannot be that of the artist,
but, if it were antique, it would be the hurriedly made autograph of
somebody else. In the book Of Statuary, &c., p. 321, Dallaway
only gives as the inscription AIIOAAn. Fine-grained Parian marble.
H. I '60. Discovered near Rome by Gavin Hamilton. [*0«]

7. Statue of Apollo. Dallaway, no. 5, "Apollo or Tro-
phonius." The statue itself is an exact replica of the principal figure
in the group at Deepdene, no. 4. The head, with a thoughtful rather
than a melancholy expression, is certainly old, and belongs to the

PETWORTH HOUSE 8, 9. 601

Statue ; the long, curly hair, which is all gathered up on the top of the
head, has been much re-worked, but it retains the original motive.
This head-dress, like the knot in the Apollo Belvedere and other
statues, has been chosen by the artist with the view of imparting to
the comparatively small head an appearance of greater height. We
have no trace here of the long curls continued to the shoulder, which
are found in the statue at Deepdene. The face also appears to have
been re-worked ; the nose is new, and parts of the neck have been
repaired. The whole body, which shows a beautifully soft move-
ment, bears much to the r., where the elbow rests on the trunk of a
tree. A snake is twined round the trunk, which the chlamys covers.
It is unlikely that a companion figure ever belonged to this, as in the
group at Deepdene. New : lowered 1. arm, half of r. forearm, head and
tip of tail of snake, the first four toes of r. foot, the lower half of 1.
leg, pedestal. All the rest is quite unbroken. Miiller thought he
recognised in the statue a Dionysos, but the body is too powerful and
not sufficiently effeminate. Good work. Thasian marble. H. 2 '02.
[*Cm]

8. Statue of a Satyr in repose. Dallaway, no. 13. The
motive is the same as that of the statue formerly known as Periboetos
(Miiller-Wieseler, i. 35, 143). The head belongs to another replica
of that often-repeated and very favourite figure of antiquity. The
mouth is slightly opened, the ears are pointed. New : tip of nose ;
the whole is somewhat effaced, but otherwise good. It is of beautiful
yellowish, Parian marble, with a very distinct grain. The body is of
another marble, white and fine-grained, without visible grain; the work
is not distinguished, and moreover the body has been polished. New:
neck, 1. arm, the r. arm from below the shoulder, edges of the nebris,
the trunk of the tree, the legs from below the knees ; the rest of the
torso is entire. H. 173. [*Cw]

9. Statue of an athlete. Dallaway, no. 12. The statue re-
sembles others in continental museums (Clarac, iv. 663, 1537; v. 855,
2167; 856, 2169; 857, 2174. Mon. dell' Inst., xi. PI. 7). The
youth rests on his 1. leg, the r. is placed somewhat back. He holds
the 1. arm at a right angle close to his body, so that the hand, of
which the open palm is turned up, is in front of his stomach ; the
r. arm is but slightly raised, and he pours oil from a round little
alabastron with his 1. hand. The head bends forward and inclines
to the 1. shoulder. It resembles the youthful heads indirectly trace-
able to Polykleitos, e.g. that of the so-called Idolino in Florence. It
is of oval form, and is covered with hair, the curls of which arc not

602 PETWORTH HOUSE lO.

quite short but lie very close to the head ; the mouth is drawn down
a little at the left corner, which gives the expression of the face a
slight touch of sentimentality ; the tip of the nose is new, the whole
head has been much re-worked. Although the neck has been
broken, there can be little doubt that the head belongs to the body.
All the forms of the body suggest in a similar manner an earlier type
(of Myron, according to Erunn, Annali, 1879, pp. 201 ff.) in a some-
what modernised transformation and in more slender proportions.
The front of the body is treated in a rather superficial manner.
Breast and back are vigorous, the back near the loins very hollow,
the nates powerful, with very marked hollows on their outer sides ;
the lower margin of the muscles of the belly towards the hips
very strong, the 1. shoulder angular. The pubes is treated freely,
with small, crisp curls. The r. arm, which is broken where the hand
joins the wrist and in the upper arm, appears quite antique, and so
does the alabastron ; the hand is connected with the shoulder by a
support {pimtello). The 1. arm has not been broken ; only the fingers
of the hand are new. The 1. thigh has been broken, but is antique
like the stem of a tree. On a branch of the stem hang by one strap
two small cylinders, each carefully wound round with a cord, which
can hardly be leaping-weights (aAr^pes). They resemble rather broad
rollers of leather or of a similar flexible material. Can they have
served for boxers instead of the usual straps of hard leather (i/tavrcs).'
New : both legs from below the knee, portions of the lower part of
the stem and the pedestal. Italian marble. H. i-68. \* Cm]

10. Statue of Dionysos, declared by Miiller to be "Hippo-
lytus-Virbius." The torso is antique. It is draped in a short chiton,
which only reaches to the knees. The shoulder-pieces of the chiton
resemble sleeves, and fall down to the elbows ; the chiton is girdled,
forming a bunch of folds below the girdle, and is somewhat drawn up
on the 1. side. A somewhat longer under-garment appears at the neck
and on the legs. An animal's skin hangs from the 1. shoulder slantwise
across the breast ; its head hangs by the god's 1. hip, resembling that
of a panther, except that it has long pointed ears ; probably it is a
lynx's head. A small cloak lies on the r. shoulder and falls behind
to the loins; it is then drawn under the 1. arm and thrown back
over the shoulder, so that the corner falls down to the knee. The
figure rests on the 1. leg, the r. being somewhat drawn back. New :
1. arm, which is held at a right angle, together with the shoulder and
the paw of the skin ; that part of the cloak which is detached from the
body (restored as it seems correctly), the lower part of the r. arm, r. leg

pinwoRTii HOUSE II, 12. 603

from below the knee, half the lower part of the 1. leg with the corre-
sponding piece of the stem of a tree, boots, and pedestal. The neck
has been inserted in restoration. The head is much worn, and
probably did not originally belong to the body, as it is too small for
it ; it has long curls foiling down, is adorned on the top, along the
parting, with several plaits, and is encircled by a ribbon. New : tip
of nose and chin. The whole figure is of unpleasing and petty
execution; the back has been neglected. Italian marble. H. 1-64.
[*Cm]

11. Draped female figure. Dallaway, no. 9. Motive the
same as of the statues engraved in Clarac, v. 975, 2513; 982 B,
2423 C. The female is quite enveloped in her cloak, her lowered r.
arm being hidden ; the 1. forearm is raised a little, and the hand holds
the corner of the drapery. Head veiled. New : second and fifth
fingers of 1. hand, neck, and parts of cloak ; the head (nose new)
possibly belongs to the body. The figure is in excellent preser-
vation, but executed in a coarse, decorative style ; the surface has
been much worn, probably by the action of rain; and in some
parts polished over. Greek marble. H. i'96. [*0«]

12. Group of Pan and Olympos (Daphnis). Clarac, iv.
726 B, 1736 E. A lion's skin is spread over a large block of rock,
and on it sit the goat-legged Pan with his 1. leg drawn up, and the
delicate, nude youth (rather Daphnis than Olympos, cf Stephani,
Compte-Re/idu, 1862, pp. 98 ff.). The latter sits with his 1. foot
tucked under his r. leg, and with lowered head he is coyly trying to
evade the importunities of the lustful semi-brute. Pan is laying his
1. hand on the boy's 1. shoulder and his r. on the syrinx, which the
youth holds in front of his breast with both hands. On the rock
below the youth, where the head of the lion's skin hangs down, are
two small heifers; beside Pan a herdsman's staff (pediitn) is intro-
duced ; both attributes appear also in the Albani replica, now in the
Torlonia Museum, no. 266 (Clarac, iv. 716 D, 1736 G), the pedum
also in the Naples copy (Cavalieri, Antiq. stat. I. in. et iv. PI. 81)
and in another copy in Rome (Matz-Duhn, Ant. Bildwerke in Rom,
I. no. 500). New, of Pan : r. arm and shoulder (the 1. arm, though
broken, is antique), the nose (which is not brutish, though the other
features, particularly the bleating mouth and the small eyes, are quite
like those of a goat), parts of the beard, the r. leg, the drapery, which
is arranged so as to conceal the evidences of Pan's excitement. New,
of Olympos : three parts of the 1. arm, half the r. arm and the syrinx,
patches on the legs, which have been much broken, but in essentials

604 PETWORTH HOUSE 1 3 — I 5.

are antique. The head is antique, but it did not belong originally
to the body ; it appears rather to be a head of Dionysos, having
long hair and a fillet round the forehead. The group has been much
smoothed over. It is of rather commonplace execution, and ranks
far behind the example at Naples ; for other replicas cf Jahn, Griech.
Bilderchroniken, p. 41, n. 272. Transparent Parian marble. H.,
inch pedestal, i'5o. The group was purchased by the late Lord
Egremont at the Bessborough sale at Roehampton in 1801, cf.
Dallaway, Of Statuary, pp. 322, 349. [*C]

13 (on the pedestal of no. 12). Greek Relief, apparently
votive. In the centre, facing r., sits a veiled female figure (Hygieia?)
on a cushioned chair with a footstool ; her hands in her lap holding
a cup, up to which a snake rears its coils. Behind the female figure
stands a female attendant in a double chiton ; her r. hand is lowered;
on the 1. she holds out a cup. On the extreme r. an altar. The
r. edge is broken. Relief of coarse, angular treatment, not Attic.
H. 0-35. L. 0-42. [*C]

14. Torso, completed by restoration as a standing Dionysos
with a panther. Clarac, iv. 678 D, 1619 A. Only the torso is
antique, with half the r. upper arm, which is lowered, a quarter of the
r. leg on which the body rests, and half of the 1. leg. New : head and
neck, three parts of the r. arm, 1. arm with shoulder, half the breast,
all the cloak (the back as well as the front), three parts of the r. and
half of the 1. leg, the large panther and the pedestal. Poor work.
Italian marble. H. 2'07. [*C]

15. Male portrait statue in sitting posture. Dallaway,
no. I. The motive is that of the so-called Marcellus in the Capitol
(Gall. Giusiin., i. PI. 113. Maffei, Race, PI. 88. Afus. Chiaram.,
II. PI. 46. Righetti, Campidoglio, 11. PI. 367. Clarac, v. 895, 2288
= 902, 2308), the Ludovisi statue by Zenon of Aphrodisias (Perrier,
Segm. nob. stat., PI. 15), and the Florentine (Clarac, v. 904, 2305).
The man is sitting in a chair, draped in a tunic and over it a pallium,
which covers his whole person except the r. arm and the r. half of
the breast. The body leans over to its r., the r. arm lies in the lap ;
the 1. shoulder is raised, showing that this arm, too, instead of waving
freely and gesticulating with outstretched hand, originally rested with
a slight bending of the elbow on the edge of the chair, where some
holes are visible, as well as other indications of the original position
of the arm. The lower part of the 1. leg is outstretched, the r. drawn
back; on the r. foot is an ornamental sandal, thickly bound. New:
1. forearm from below the elbow, three parts of the r. arm with the

rETWORTII HOUSE l6, 17. 60$

roll in tlie hand, and the I. foot. The antique head, of Parian
marble (new : tip of nose), ascribed by Miiller to the time of the
Antonines, while Bernoulli declares it to be probably Gallienus, does
not belong to the statue. This head presents a feeble man with a
small beard, certainly a Roman ; while as to the figure, the presence
of the pallium instead of the toga, and the good general conception,
point to its belonging to a Greek personage. The whole surface of
the statue is much corroded. H. 1-50. Formerly in the Barberini
palace. The inventory of the Barberini Collection drawn up in 1738
gives but one article which can be identified with our marble, " tma
statua a sedere rapprescntante imomo togato antico senza testa e senza
braccia, e mancante di un piede, stimata scudi irentaci>ique" {Docum.
ined. per seii'ire alia storia del Miisei d' Italia, iv. p. 45). This entry
shows that really the statue was without a head when in the Barberini
Palace. [^BCni]

16. Statue of a Hora — Winter (according to Miiller,
Autumn). Dallaway, no. 18, "Nymph." The figure rests with
most weight on the 1. foot. She wears a chiton with sleeves, which
does not quite reach to her feet and leaves the r. shoulder bare,
and over the chiton a cloak folded double, which envelopes the
1. arm, the stomach, and nearly the whole of the legs in a fairly
uniform mass ; the end of the cloak falls over the 1. forearm, which
is advanced at a right angle. Sandals are on the feet. In her
lowered r. hand the girl carries three birds, apparently ducks
(new : two necks and heads), which reach down to the stem of a
tree; in her 1. hand is a hare (legs new). These attributes are
more consistent with winter than autumn ; cf. a statue in Turin
(Diitschke, Ant. Bildwcrke in Oberitalien, iv. no. 83). New : the r.
arm from the elbow to the wrist, parts of the legs. The head has
been re-set, but appears to belong to the statue ; it is surrounded by
curls, and a head-cloth {opisthosphendont) is bound round it and
knotted together over the forehead. The head looks somewhat
stififly straight in front; it is rather insignificant, and much worn.
The whole figure is somewhat stiff, the drapery peculiarly arranged
with more affectation than taste ; besides, the statue has been much
re-worked in a style like Cavaccppi's, but inferior. Italian marble.
H. 1-52. \*Cm-\

17. Statue of a " Nymph of Artemis." Clarac, iv. 564 D,
1248 B. A maiden, in a short chiton reaching to her knees, stands
supporting herself by her r. elbow on a square pillar, which is almost
entirely covered with a cloak. The chiton, the upper fold of which

6o6 PETWORTH HOUSE 1 8.

covers the whole stomach, is girt high under the breast with a round
cord, the ends of wliich fall down straight in front of the body. A
ribbon, like the band of a quiver, goes from her r. shoulder down her
back to the girdle, and in front right across her breast to a little
below the girdle, where it suddenly ceases : there is no trace of a
quiver. The figure rests on the 1. leg ; the 1. hip projects very much,
so that the upper part of the body is quite forced to the r. side, which
causes an unusual twisting of the whole figure. A part of the cloak
is drawn down from the pillar and entirely covers the r. leg, which is
much bent and must originally have been supported on some object.
The 1. hand, which is lowered, probably grasped a piece of the
drapery. New : r. forearm, which is bent upwards, considerable
portions of the folds of the cloak, half the 1. forearm (the middle part
of the arm is broken, but antique), half the lower part of the 1. leg,
and half the r. leg with the foot, the pose of which is elegant to
excess, and just touching the ground with its toes; the pedestal, the
stem of a tree that has been introduced as a support between the
legs, and parts of the pillar. The neck is for the most part a new
insertion, but the head appears to belong to the statue. It has the
character of a youthful Aphroditfe ; the wavy hair is gathered in a
knot behind ; a low stephanfe was probably only intended to support
a metal one, for the securing of which two holes have been made ;
both eyes have been restored. The figure is pleasing, much more
so than is to be inferred from the engraving, and very delicately
executed, but it has unfortunately suffered much at the hands of an
incompetent restorer. It is very difficult to give a confident ex-
planation of it, as the no doubt significant attribute under the r.
foot is now missing. Parian marble. H. i"S3. [*0«]

(Under no. 17 is a long Greek Inscription, very much rubbed
and very difficult to read : it will only be possiljle to decipher it with
the aid of a paper impression.)

18. Statue of an Amazon. Clarac, v. 808, 2031 A. Dallaway,
no. 20. The statue belongs to the type of the Mattei Amazon ; un-
fortunately it has been much re-worked. New : the entire up-raised
r. arm, the lowered 1. arm from the shoulder, the legs from the knees,
the stem of the tree with shield and double axe, the helmet, the
pedestal. The remains of a puntdlo, intended to secure the 1. arm,
are preserved. The quiver has been broken off behind, and the
under surface has been rasped, so that there is no trace of the bow,
which must once have been fastened to it. The great importance of
the statue consists in its being the only specimen, among all the replicas

TETWORTH HOUSE I9. 607

of tliis type, in which the original head is preserved ; for though it
has been broken off, the very nature of the line of breakage and the
quality of the marble left no doubt either in my mind or in that of the
late Dr Kliigmann, who examined the statue in 1880, that it belongs
to the statue ; only a little piece of the tip of the nose has been
restored. The head, which has also been in great part re-worked, is
rather heavy in comparison with the body. The type of face has
much in common with that of the Lansdowne Amazon (London,
Lansdowne House, no. 83), particularly as to the eyes with their
well-defined lids. In other respects the features are less sharp;
the mouth forms a curving line with a slight expression of sternness,
the upper lip is rather full and the under lip delicate ; the nostrils
are a little depressed. The line of the profile is Attic, inclined to
straightness, the line of the nose being only a little advanced;
the line of the jaw forms an obtuse angle ; the chin is very distinctly
marked. The soft wavy hair is brushed back and gathered into a
small knot behind. The narrow ribbon which goes round the hair,
and the whole length of which is visible, is a characteristic mark of
this type; it appears also on the gem engraved by Natter (Miiller-
Wicseler, I. 31, 138 b), which repeats this type. It does not appear
doubtful to me that a good Attic type of the fifth century B.C. is at
the bottom of the somewhat modernised delineation of the head in
this comparatively mediocre example, and that Kekule is wrong in
attributing the invention of this type to a much later period {Com-
t/iaU. Mommse/t., -p- 4^5)- H. 1-99. [*0;/]

19. Male portrait statue in sitting posture. S/a., 11. PI.
7, 8. Clarac, v. 840 C, 2143. Dallaway, no. 2. An elderly man
with bare breast, flabby soft skin, and very marked collar-bones, is
sitting on a stone seat with no back ; his thin r. arm lies in his lap,
and his 1. elbow is supported by his r. hand. Legs, body, and 1. arm
are partly covered by his wide cloak with rich folds, which is stretched
between the knees so as to leave scarcely any hollow. On the feet
are sandals ; the r. advanced, the 1. drawn back. New : the up-
raised 1. forearm, the neck, the r. foot from the drapery, the 1. foot,
the front piece of the pedestal. To this elderly body, which would well
suit a statue of Demosthenes (cf. Knole,no. i), there has been joined,
by the insertion of a new neck, a head which Conze and Bernoulli
take to be in truth meant for Demosthenes. But it has not the pointed
oval form of face, not the characteristic mouth with the under lip
diawn in, nor the eyes of Demosthenes, nor his hair, which in the
subject before us is soft and rather curly, thick on tlie top and at the

608 PETWORTII HOUSE 20 — 23.

back of the head, but scanty on the forehead ; the beard is too soft,
not strong and not clipped, as Demosthenes' was. This head re-
sembles that of Demosthenes only in its general character of morose
gravity ; the pregnant energy of the orator is wanting. New : nose.
The head, like the statue, is of Pentelic marble, and they accord
very well together; nevertheless it had originally nothing to do
with the body, as is conclusively shown by the Inventory of the
Barberini Collection compiled in 1738 {Doctim. ined. per servire alia
storia del Musei d' Italia, iv. p. 57), for we find the statue among the
" rottami di statue,^'' where it is described as " una statna a sedere, piii
grande del natitrale, con una spalla ed un braccio nudo, senza testa e
braccio manco, alta pal. 5 on. 8." The body is of good and very
simple composition and execution, and is undoubtedly Attic. The
r. thigh, as often happens with sitting figures, is enormously long.
The left must be regarded as the principal side, as the drapery is
richer and fuller there. The statue would show to better advantage
if it stood somewhat lower. A fine bronze statuette from Brindisi, of
similar composition, is to be found in the British Museum (Guide
to Bronze Room, p. 47, no. 3. Encydop. Britann., 9th ed., art.
"Archaeology," p. 365). H. i'48. Formerly in the Barberini
Palace. [*^0«]

Then follow the busts of the Statue Gallery, the greater part of
which in 1877 occupied a temporary' situation in a corner of the
room.

20. Archaistic terminal head of Apollo (according to
Miiller, of Dionysos). Spec, i. 28. Dallaway, no. 49. Two long
ringlets fall down on either side ; loose curls hang over the forehead.
A ribbon is drawn through the hair. New : nose and a few curls.
Expression noble. Execution commonplace. Over life size. [*w]

21. Head of the bearded Bacchus, colossal scale, crowned
with ivy, with a fillet round the forehead. In good preservation.
[C]

22. Double terminal bust representing the bearded Diony-
sos and Ariadne, life size. Archaistic style. New : both noses.
[*0//]

23. Heroic Head. Spec, i. PI. 54. Dallaway, no. 43. In
character and inclination the head resembles that of the Menelaus or
Ajax in the Vatican {Mus. Pio.-Clem., vi. PI. 18), but is by no means
identical with it. The helmet, broken off in front, is simpler, of a
hardly antique shape and ornamentation, especially in the front ; the
plume has been for the most part restored. The eyes are remarkably

PKTWORTIl IlOUSli 24 — 27. 609

deep set : they look upwards ; their form and that of the brow and
of the forehead show a marked mannerism ; odd too is the way in
which the hair is arranged all round under and over the edge of the
helmet. The mouth is opened wide like that of the Laokoon. The
nose is nearly all restored. The beard is negligently treated in great
tufts ; below the lips all has been restored, as also have the neck and
breast. The head, praised by Payne Knight in exaggerated terms, is,
if not totally new, at least very much re-worked and amended. Bad
Italian marble. H. of head, including the helmet, 0-45. L. of face
0-2 2. [■'■/> 0«]

24. Bust of a youth. Spec, i. PI. 30 (not quite adequate, too
sharp). The head is very beautiful; its unusually crisp curls are
delicately and carefully executed. It belongs to a statue of a victor,
as is shown by the broad fillet which almost covers the forehead ;
over either temple small sling-shaped loops of the fillet peep forth
from behind its main portions. The face is of a beautiful oval;
eyes long and narrow, cheeks flat, mouth tender; the nose ad-
vances but slightly from the line of the profile. This fact, and the
expression of individuality and intellect, suggest that it is the copy of
an Attic original, no doubt of the fourth century b. C. Replicas of the
head are in Rome {Mon. dclV hist., ix. PI. 36 ; one of the loops by
mistake changed into a roll), and in Treves {Jahrb. d. Vereins v.
Altertlmmsfr. in Rheirilande, IX. PI. 5, 2, only a fragment) ; but they
are far behind our example, which has preserved its original polish.
As to the general character and the motive one may compare
the description in Kallistratos of the bronze Uiadumenos by Praxi-
teles (Stat. 11), e.g. KO/jLi] hi ft^ev IXiKttS TaTs 6<f>pv(TLV £;ri/3aiVoiTas' o 8e
Tu> TcXa/XMi'i KaTa(TT((j)(iiV Trjv KOfJirjV Kal tK Twv orfipvwv air 106 ovix€VO<;
T<p hia?iriixaTi ms Tp9(as yvfivov TrXoKd/j.oiv irrjpei to /itrcoTTOV. New : tip
of nose and bust. L. of face o'i8. [*/«]

25. Bust of a youth with the character of Hermes. Curly
hair, expression tender and beautiful, decidedly Attic, somewhat in
the style of Praxiteles. New : nose, neck, bust ; also the top of the
head and the hair have been partly restored. Good work. Pentelic
marble. H. of the genuine part o-26. L. offaceo-i8. [*]

26. Modern copy of the head of Hermes (so-called Antinous)
of the Belvedere, with bust and pedestal all completely unbroken,
but much corroded; perhaps because it has stood for a long while in
the open air. [*]

27. Bust of a heroine. See the annexed plate. This frag-
ment of a colossal statue is one of the most remarkable specimens in

M. C. 39

6lO PETWORTH HOUSK 28.

the collection. Unluckily it stands in a very unfavourable position
under a window. The whole head is antique except pieces behind
the ears ; the fore-part of the neck is new, but the bust as far as
below the breast is antique. So are the ends of the long curls and
the plait that falls far down, also the stump of the r. arm which is
stretched out horizontally, while the 1. (for the most part new) was
lowered. Over a fine under-garment the lady wears an Attic do'ubled
chiton, which is buttoned together on each shoulder, where it forms
rich folds. (It is not a chlamys as may at first sight appear.) The
forehead is perpendicular, the beginning of the parting comes down
on to it, as is usually the case with colossal heads {e.g. the Ludovisi
Hera). The hair is parted on both sides as it were into waves,
which crowding one over the other fall down in a rich mass be-
hind. Abo\e the forehead and over these wavy portions of the
hair may be seen a narrow vertical circle intended probably to be
the support for a metal stephane. There are some scratches on
the face, otherwise it is in excellent preservation. The nose is wide
and straight, making no very marked angle with the line of the
profile. The mouth is excellent, lips slightly apart and gently
curved; it bespeaks, as does indeed the whole expression of the face,
surprise if not disdain, but accompanied by that selfrestraint in
emotion which we admire so much in the head of Niobe. This head,
though more oval, is in fact closely related to that of Niobb, as a
counterpart and complement to whom her rival Leto naturally occurs
to the mind. Kliigmann's opinion {Arch. Zeif., 1869, p. 32) that
it is a replica of the Farnese head of Hera {Mon. dell' Inst., viii.
PI. I. Overbeck, KunstmythoL, Atlas, PI. 9, i, 2) I consider
erroneous; the long curls alone contradict such an idea, and so
does the whole stylistic character of the head. In spite of this it
may be a Hera, although in the epoch in which I must place the
head, the oval form of the face in a Hera would appear very re-
markable. This capital head, which is a good copy of some grand
original of the fourth century B.C., has caught something of the
brilliance of the original, and ought to be made more widely known
by means of casts. The marble is apparently Pentelic. H. 089.
L. of face, o"26; forehead, 0^09; nose, 0-09; upper lip, 0-025;
chin, 0-055. [*0«]

28. Bust of Artemis ? Dallaway, no. 40, " Sabina," now
marked as " Cleopatra." The head, executed after a Greek model,
seems to have originally represented Artemis with a stephanfe ; the
face is pretty and of fine oval form. New : nose, 1. eyebrow, a piece

PET WORTH N° 27

PETWORTII IIOUSK 29 — 38. 6II

on the chin, neck and bust ; the stephane has also been adorned by
a restorer with a sun, two half-moons, two stars and sundry jewels.
L. of face o'l;. [*]

29. Ideal female head, with the wavy head-dress so common
on Greek female heads. Undoubtedly the head was originally very
pretty, hut nose, mouth, chin and neck are new. Work somewhat
superficial. Nearly life size. [*]

30. Greek portrait head. S/a., i. PI. 66. Its characteris-
tics are curly hair and beard ; expression stern and thoughtful ; there
is a slight resemblance to Karneades (Visconti, Iconogr. grecquc, i.
PI. 19). Pupils expressed. Somewhat corroded. New : nose, neck
and bust. Over life size. [*]

31. Bust of Brutus. In character the head resembles the
L. Bnitus of the Capitol (Visconti, Iconogr. ram., i. Pi. 2. Bernoulli,
Rom. Ikonogr., 1. p. 20), without being identical with it. It is
turned to the 1. A Greek portrait seems to me to be the foundation
of it. The surface is completely re-worked and polished. New :
nose, neck and bust. Life size. \*BC'\

32. Bust of a laughing girl. Dallaway, no. 32. The fresh
young head has quite the expression of a Satyr, but it is without
pointed ears ; the hair is entirely drawn back from the face and
gathered into a knot behind. New : nose and upper Hp, also the
nude bust with a nebris. The head will bear comparison with the
head of the Hermaphrodites in the Malatcsta group (Clarac, iv. 671,
1736). Below life size. [*C']

33. Bearded portrait head, with gloomy look, belonging
undoubtedly to the second century, probably of Aelius Caesar.
Perpendicular profile. Good bust, in perfect preservation. [*.5]

34. Portrait head, like Aelius Caesar. The flesh is
smoothly, the hair roughly treated. New : tip of the nose ; other-
wise well preserved. [*]

35. Bust of Marcus Aurelius. Dallaway, no. 29. In
youthful style, without beard. New: tip of nose, neck and bust. [*C]

36. Septimius Severus. Dallaway, no. 22? 34? New:
tip of nose. [*/>]

37. Clodius Albinus, or a head like him. New : nose and
sundry details. [*i?]

38. Portrait head of similar character, over life size. Dalla-
way, no. 36 ? Beard soft and even, but not long; hair short, forehead
high. The glance is directed downward to the r. New : tip of nose
and bust. [*]

39—2

6l2 PETWORTII HOUSE 39 — 50.

39. Portrait head, with curly hair and weak beard. [*]

40. Bust of a Roman youth, with curly hair and faint
whiskers and mustache. Pupils and eyebrows expressed. New :
nose and bust. If I am not mistaken, this head, or the foregoing
one, is copied in a volume containing drawings by Cipriani in the
British Museum (MS. Add. 21 118 fol. 11) as having formerly be-
longed to Lyde Browne (Introd. § 52) ; it might however be a
replica, cf no. 46. [*]

41. Bust of a child with bulla. Dallaway, no. 27. The
child has fat cheeks ; he wears on his head along the parting a
curious plait with regular knots or buttons on either side of it. The
head is let in to a draped bust to which it may possibly belong,
with a wide horizontal stripe (so-called laeiia), and in the midst of
it the oyster-shaped bulla, the hinge of which, fastened with four
pins, is very carefully indicated. New : tip of nose. Smaller than
life size. [*z«]

42. Bust of a boy, with curly hair. The neck is antique.
New : tip of nose and bust. [*]

43. Bust of a boy, with a round cap which is pointed at the
top, on his slightly curly hair. Dallaway, no. 43. Neat. New : neck
and bust. [*C]

44. Bust of a child, smiling, with a silly expression. Tip of
nose missing. New : neck and bust. Small scale. [*]

45. Head of a Roman matron. Dallaway, no. t,i ? Her
hair is brushed tightly back on both sides, one plait lies back over
the crown. New : only the tip of the nose ; all the rest is antique.
Good portrait, belonging to the first century a. d. \*B\

46. Colossal bust of an Empress, of the beginning of the
third century A.U., with headdress of the fashion of Julia Mammaea,
though it is not this empress herself. Dallaway, no. 23, "Julia Pia."
The wavy hair hangs far down behind and is then gathered up again
in a plait. Eyebrows and pupils expressed. The flesh is polished.
New: nose, parts of the lips, and chin. This bust, or another one
exactly like it (cf no. 66), is to be found among Cipriani's drawings
(cf under no. 40) from the collection of Lyde Browne, fol. 15, as
Julia Pia. Italian marble. H. 0-52. Length of face o'26. [*-5]

47. Female portrait bust, with the hair drawn back. New :
top and back of the head, and the bust. [*]

48. Girl's head, neat, with the wavy hair drawn back; on
each cheek a single ringlet. [*]

49. 50. Table legs, ornamented with grifiSns. [*]

I'ETWORTH HOUSE 5 I — 54. 613

51. Large bronze relief. Dallaway, p. 290. To the r. the
temple of Jupiter Capitolinus and three men with wreaths, on the 1.
the sacrifice of a bull ; further r. two boys holding a large round
shield. " Sent lately from Italy by the Hon. W. Wyndham, his
Majesty's minister at Florence" Dallaway (1800). To Miiller the
relief appeared antique ; Conze is sure it is new ; it is fixed in a
very unfavourable place, but I take it to be only a copy or imitation
of the Medici relief in Florence (Ufiizi, no. 29 of Diitschke's catalogue.
Sante Bartoli, Admirarida, PI. 43). [C/«]

VAN DYCK ROOM.

In the corners of this large room, brilliantly adorned with paint-
ings by Van Dyck, stand the four following statues : —

52. Statue of Artemis. Dallaway, no. 4. The goddess
rests on her r. leg, the 1. is drawn back. She is robed in a short chiton
with a bunch of folds hanging down ; over this is an animal's skin
with long, broad ears (according to Miiller that of a lynx), which is
gathered in mth the girdle. Both arms are lowered. Near the r. leg
sits a dog; on the stem of a tree behind the leg hangs a quiver.
New : head, three parts of the 1. arm, half the r. forearm, 1. knee,
part of the quiver ; of the dog, head and neck. Legs and arms of
the statue broken in many places, but antique. Ordinary work.
Parian marble. H. 1-26. [*0;/]

53. Statue of an attendant at the sacrifice {camillus).
Spec, I. PI. 68. Chirac, iv. 769, 1910. The boy has long curly hair
adorned with a laurel wreath. He wears a very mde tunic ungirdled ;
its shoulder pieces fall down below his elbows like sleeves. In front
of him he holds a pig, outstretched, the fore-legs with his r., the hind
legs with his 1. hand. Near the 1. leg is the stem of a tree on which
hangs a triangular box with the wide sacrificial knife. The statue
is in excellent preserv^ation. New : only the 1. forearm of the boy
with the hind legs of the pig, the ears of the pig and the boy's nose.
The sculpture is in a broad, good style, though somewhat poor ; the
pig is the most successful feature of the piece. Parian marble.
H. i"2S, with the pedestal, i'35. [*Cot]

54. Statue of Seilenos. Spec, i. PI. 69. Clarac, iv. 734,
1770. Dallaway, no. 14. The thickset, powerful figure stands in a
posture of repose, draped only in an apron round the loins and rather
high boots. On his head, which is bearded, bald, and crowned with
ivy, Seilenos carries a winnowing fan (XUvov, vannus), which he
holds with both hands. Its contents are hidden by a cloth which

6 14 PETWORTH IIOUSK 55 — 57.

hangs down. Near the 1. leg is a stem of a tree entwined with a
vine, and a snake coiHng itself up it. The figure is broken in sundry
places, but is almost entirely antique : only the tip of the nose
appeared to me new, but the Specimens enumerate " the middle parts
of both legs, and of the r. arm, and a splinter from the cista." Coarse-
grained Parian marble. Good decorative figure ; it may be compared
as to motive with an excellent Greek bronze from Aegion, in the
British Museum {Guide to Brotize Room, p. 46, no. 2). H. i'6o,
with the pedestal, 1-68. [*0«]

55. Statue of a Roman in toga. Dallaway, no. 15. The
man wears shoes; on his right stands the box with rolls (scrinium).
New, or at any rate re-worked : the half of the lowered r. forearm
with the roll in the hand; certainly nevt^, the advanced 1. forearm and
neck. The head of a boy joined to the statue, a third part of which
is new, is of different marble, and, setting aside the smallness of the
statue, there is no reason for supposing the figure to be a boy or even
a particularly young man. Italian marble. H. i'3o. [*0«]

MARBLE HALL (Dining Room).

56. Statue of a man in Oriental costume. Spec, il PL
56, "Marcus Aurelius." Clarac, v. 936 C, 2511B, " emperacr re-
main ou prH7-e" Dallaway, no. 11, " Helenus the priest of Apollo."
The figure is a very uncommon one, and Miiller is probably correct
in considering it the minister of some Oriental cult. He wears a long
tunic, with long narrow sleeves, trimmed at the bottom with fringe,
which reaches to the middle of his shins, and over it a small cloak
likewise bordered with fringe. It rests on both shoulders and covers
great part of the front of the body. New : both legs from below the
drapery, the 1. from a little more below, so that a fragment of the
high boot, with its crossed thongs and border turned over at the
upper edge, belongs to the antique part; also, half the r. forearm
with the cup, and the 1. arm above the elbow with the roll in the
hand. On the head is a wreath, and it is difificult to believe that
the head belongs to the body ; it is an unknown portrait and has a
short beard ; the hair is deeply undercut with the drill. Italian
marble. H. abt. 2 '00. ^Bvi\

57. Statue of a Roman in toga. Dallaway, no. 8. A scri-
nium beside the 1. foot. New : the r. forearm, the 1. arm with the
roll, half the r. and a portion of the 1. foot, and the pedestal. Head
and neck are inserted ; the tangled hair hangs partly over the fore-
head, the beard is shaven close ; nose new. The statue is not bad,

I'KTwoKiii iioust: 58—64. 615

and belongs possibly to the age of the Antonines. H. abt. z-oo.
[»Bm]

BEAUTY ROOM.

In this room and in the staircase-well adjoining is a large number
of busts, for the most part in excellent preservation and in some
cases of remarkable beauty and great rarity. Like Bernoulli and
Conze, I was so unfortunate as only to be able to make a very cursory
inspection.

58. Bust of Antinous, calmer and less gloomy than he is
usually depicted. The face is polished, the hair rough. New : tip
of nose, mouth, 1. eyebrow, bust. Splendid Parian marble. Life
size. [*C]

59. Bust of the elder Faustina. Dallaway, no. 41. The
head is very beautiful ; it is turned up towards its right. The deli-
cate nose is well preserved, and so is the neck ; the bust is new.
The lobes of the ears are pierced. The form of the face is round
and full. Pupils expressed. The hair is drawn back from the face ;
new : the top and the back of the head with a nest of plaits on it.
Parian marble of a warm yellowish colour; good sculpture. Life
size. [*]

60. Bust of a Roman matron. Dallaway, no. 39. The
head is elderly and, with the neck, is in excellent preser\'ation ; only
the bust is new. The hair is wavy and drawn away to the side
in single tresses, so that the lower gradually are lost beneath the
upper. On the top of the head is a high arrangement of plaits
resembling a basket. Fine-grained Greek marble ; excellent sculp-
ture of the 2nd century a. d. Life size. [*]

61. Bust of an old Roman lady. S/cc, i. PI. 72, 73. On
the top of the back of the head are two enormous plaits. She has
a penetrating gaze. New : nose, parts of the ears, and the lower
part of the draped bust. The head is badly polished. It belongs
to the 2nd century a. n. Life size. [*/«]

62. Bust of a Roman matron, middle aged. The hair is
simply parted and drawn back. New : tip of the atiuiline nose. The
draped bust is patched. Very white marble. [*]

63. Head of a child, of about six years old, on a draped bust
(probably that with a so-called laena? see Dallaway, no. 21, "per-
liaps Caracalla." Miiller, p. 256). Well preserved. Life size. [*/;/]

64. Child's head, with pretty curly hair. The pupils are

6l6 I'ETWORTH HOUSE 65 — 73.

faintly expressed. New: tip of nose. The draped bust possibly
belongs to it. Life size. [*]

Inside the door opening into the staircase-well stand before the
posts :

65. Head of an empress (Julia Pia?). Her hair falls with
some luxuriance on her neck. Nose restored. Fairly delicate head.
Life size. [*]

66. Bust of a Roman lady, of roundish, somewhat clumsy
form ; not beautiful ; expression lively, but somewhat pouting and
not attractive. The wavy hair is drawn down at the back and then
gathered up again in a plait. Pupils and eyebrows expressed. New :
tip of nose, and bust. Life size. Cf above on no. 46. [*]

GRAXU STAIRCASK.

67 — 70. Four Roman female heads, with various styles
of head-dress. I had not time to describe them minutely. Bernoulli
believes one head, that of the elder Faustina (Dallaway, no.
25 ?), to be mcdern. [*-B]

71. Bust of a youth. Dallaway, no. 30, "probably one of
the nephews of Augustus" (?). A thick wreath of laurel encircles his
head ; his expression is somewhat vacant. Pupils and eyebrows ex-
pressed. Much polished. New : nose, neck and bust. Life size.

72. Greek Relief. A youth in a chlamys on horseback rides
forward from the 1. ; he is greeted by a female figure in a chiton and
with a shawl round her shoulders, who offers him a cup with her r.
hand and holds an ewer in her 1. Behind her, on the extreme r., is
a tree, round which a snake twines. Votive? All the ground of
the relief, and in some measure the outlines of the figures, have been
re-worked. Not important. [C]

I did not find the following specimens, neither are they mentioned
by Conze and Bernoulli ; probably they are placed in some private
room.

73. Head of Aphrodite. Sj>ec., i. PI. 45, 46. Dallaway,
no. 31. Replica of the head of the Medici statue but, according
to MilUer, of greater softness and roundness, and also larger in its
proportions. Payne Knight goes even so far as to suppose this head
to be a relic of the original of the Medici Venus and her numerous
companions. Surface well preserved. Nose and part of the upper
lip restored. [///]

I'ETNVOKTII HOUSE 74, 75. 617

74. Bust of Athene? Dallaway, no. 42, "Athens." The
bust is protected by a round aegis, and the head by a so-called Attic
helmet, the vizor of which stands up like a diadem in front. Helmet
partly new. Miiller takes the face for a portrait on account of the
individuality of the features, [w]

Besides these Miiller found a number of bronze statuettes,
among which he considered worthy of mention :

75. Poseidon, with muscular build of limb, long flowing hair
and beard. With the (upraised ?) 1. hand he appears to have held
a trident, with the r. the bridle (or a dolphin, or a hippocampus ?).
E.\cellent work, similar to that of the Zeus of Paramythia in the
British Museum (.^i-r., I. PI. 32). A span and a half high. [/«]

I found it impossible to identify all the busts mentioned by Dalla-
way with those enumerated above ; I therefore briefly mention those
with which I have not succeeded.

Dallaway, no. ■24. Female bust, unknown. The hair is much swelled out on
either side, and tied in a knot behind ; in front are tufts of flowers. On the
tessera of the pedestal is Cupid burning a butterfly with a torch.

Dall., no. 25. Female bust having the attire much like that of the Faustinas.
Intire, but the neck has been broken ofif. [No. 67 ?]

Dall., no. 16. Bust resembling Hadrian. Intire, but of coarse sculpture.

Dall., no. 2S. Bust with the " latus clavus" [" laena"], nose restored; re-
sembling Septlmlua Severus rather than Pescennius Niger.

Dall., no. 35. Young man, with close hair.

Dall., no. 37. One of the Dioscuri [with a cap made like an egg?], upon a
modem bust. From the Barberini Palace.

Dall., no. 38. Man unknown, with the hair and beard in massy curls.

Dall., no. 44. Didia Clara, on a modern bust, the nose restored.

Dall., no. 45. Female head attired like Julia Tlti, much repaired.

Dall., no. 46. Antoninus Plus, with the neck upon a grey numachella bust.

Dall., no. 47. Hadrian.

Dall., no. 50. Head of Baccbus on a terminus, in his youthful or effeminate
character.

Dall., p. 290 (in a private room). Bust; the face is of crystal, and the rest
of porphyry. It appears to be of Isla or Arslnoe, as it has the lotus on the head.
[Modem?]

6l8 PIPPBROOK HOUSE I— 7. RAMSGATE.

PIPPBROOK HOUSE (Surrey).
Conze, Arch. Anz., 1864, p. 167.

This house, situated near Dorking, contains the considerable
collection made by the late Mr Forman, M.P., which is in the
possession of his widow, now Mrs Seymour Burt. In this collection
Conze saw several minor works of art, such as bronzes, glass ar-
ticles, vases, etc. ; among them ranks as the principal piece a vase
with Amazons, from Agrigentum (Gerhard, Auserl. Vasenbilder,
IV. PI. 329, 330). I was unfortunately prevented in 1877 from going
through the collection by an affliction in the owner's family. A letter
from the late Dr Kliigmann, who visited Pippbrook House in 1880,
informs me that there are also a few marbles, viz. :

1. Statuette restored as Hygieia. H. abt. 0-90.

2. Statuette restored as Ceres. Same size.

3. 4. Two double terminal half- figures; the one composed
of two men bearing a lamb (?) each, and holding bunches of grapes
in the lowered r. hand. Small size.

5. Divers single terminal busts. Small size.

6. Head of horse. Size of life.

7. Etruscan cinerary urns, abt. 17 examples.

The painted vases are of all classes, from the earliest to the
latest style ; besides lamps, and terracottas of every description,
also gilt; bronzes, implements as well as small figures, and par-
ticularly mirrors, some of which are already known from engravings,
while others are as yet unknown.

RAMSGATE (Kent).

In the hall of Augusta Lodge, the possession of Henry Curling,
Esq., is placed a double terminal bust of Epikures and Metro-
doros, which was left to the present owner by the late Mr Thomas
Allason, author of Pictures and Vie7vs of the Antiquities of Pola
(London, 1819). The two busts, over life size, placed back to back,
stand on a square shaft tapering downwards, which is about i-8o high,
and are surmounted by a small square marble, projecting towards its
upper end and slightly ornamented, which seems to be meant to
support some piece of architecture, as indeed it actually does. The
names eniKOYpoc and MHTpoAcopoc are inscribed on the shaft, not, as
is usual, directly beneath the edge of the breast-piece, but at a certain

RAMSGATE. KICHMuND. 619

distance below it. The whole monument in all its parts is cut from
the same marble, without any join. The heads and faces are quite
perfect; only on the shaft there are some repairs. This wonderful
state of preser\'ation of so large a marble cannot but raise serious
doubts about its authenticity. The doubts are strengthened by the
square top ornament, for which it would be difficult to find any
sufficient analogy among ancient terminal busts ; by the palaeographi-
cal character of the inscriptions, especially the short horizontal stroke
of the €, and the to with its upper extremities curved outwards ; by
a rosette occupying the place of the usual mark of male terms, a
feature utterly unheard of in antique art ; not to mention certain
stylistic details in the treatment of the hair and the beard. The
marble is presumed to have been found in digging the foundation of
the new Portico of S. Maria Maggiore in Rome, in 1742. This
appears to involve a confusion with the famous double terminal bust
of the same two philosophers, which really was discovered on that
occasion and passed into the Capitoline Museum, of which it still
forms a highly admired ornament (cf Miis. Capitol., I. PL v. Visconti,
Iconogr. grecqiie, I. PI. 25, p. 292 n. I Mil.). As there is not the
least allusion in literature to a second similar bust found at the same
time and place, I have little doubt that the bust at Ramsgate is a
modern copy of the Capitoline bust, and that the same origin has
been ascribed to the two either by mistake or in the interest of the
trade in objects of art. [From letters of Mr Curling, ami a photograph
kindly sent by him.']

RICHMOND (Surrey).
Michaelis, Arch. Zeit, 1874, pp. 59/?.
Francis Cook, Esq., lived for many years in Portugal, and in
recognition of his liberal care for the interests of the public he was
created Visconde de Montserrat in the peerage of Portugal. At
Montserrat, near Cintra, is a section of his collection of antiques,
and it has been catalogued by Gurlitt, Arch. Zeit., 1868, pp. 84 ff.;
in this section is said to be the group of the Nile, formerly in the
Worsley collection (cf. p. 240). In his English residence, Doughty
House, Richmond Hill, Mr Cook has another large collection of
remarkable and interesting specimens. I went through the collec-
tion in 1873 and 1877. Moreover I have had some notices of
Bernoulli and Matz placed at my disposal, and lately Prof. Benndorf
of Vienna supplied me with other notices made in 1880.

620 RICHMOND I, 2.

SALOON GALLERY.

1. Ivory Casket, of a late Roman style. The box is some-
what broader above than below, and flat at both ends ; the front
is convex, the back consists of a flat cover, which is furnished
with a projection on its upper end for greater convenience in taking
hold of it and drawing it out. On the upper surface a quad-
rangular hollow and numerous traces of nails bear witness that
some apparatus was fixed here, the use of which is as much a
riddle to me as is the intention of the casket altogether. A couple
of rings show that it was meant to be hung up; those parts on
both sides that project most have been so much rubbed that the
vessel must have been carried in such a manner as to expose it to
constant friction. — Curved front. Three Bacchic figures stand in
full face over a border of acanthus leaves. In the midst is Dionysos
himself, crowned, the upper part of his body nude, the legs covered
with his cloak. In his 1. hand he grasps the thyrsos, with the r.,
which is lowered, he is emptying a drinking vessel (much rubbed)
over a panther, which crouches on the ground and raises its head to
him. To his r. stands a Maenad, with wreath on her head, wearing
a long, girdled chiton ; the thyrsos is in her r. arm, with her 1. hand
she raises the tympanon behind her head so that it looks like a
nimbus. To the 1. of the god a Sat>T, draped with an apron of skin
about the loins and a fur cloak on his back, carries a wine-skin on
his 1. shoulder ; with the r. arm he shoulders a pedum. — Flat back
(cover). Fortuna in full face, robed in chiton and cloak, the cornu-
copiae in her 1. arm, the r. hand on the tiller of a steering paddle.
The head is adorned with the attribute of Isis, the feathered disc
within two cow's horns.. To the r. of the head floats a little Cupid,
who holds a purse (?) in his r. hand and points to the rudder with
his 1. In the background is a curtain. H. 0-15. W. at the upper
end 0-09. D. 0-05. [*]

THE GALLERY.

2. Statue of Aphrodite ("Venus Mazarin"). There are
many similar statues of Venus, but none seems to be more like this
than the one copied in Maffei's Raccolta, PI. 144, as in the posses-
sion of Ignazio Consiglieri, in Rome ; the motive of the r. arm is
however quite different, the 1. leg is not so much covered, and the
dolphin is nearer to the body. Cf also Clarac, iv. 606 B, 1343 D.
Bernoulli, Aphrodite, p. 271. The goddess stands on her 1. leg; the
r. leg is slightly bent, and a little in advance. Her 1. hand is lowered

RICHMOND 3. 621

SO as to conceal her abdomen with a corner of her frniged cloak,
which covers her 1. leg entirely ; the cloak passes behind her body
to the r. hip, and is then taken by the raised r. hand and lifted up
high. Thus the r. leg and all the upper part of the body are left
uncovered. The proportions of the body are full, like those of the
Capitoline Venus, and by no means inclined to slenderness. The
head is somewhat heavy. On the top of it is a knot of hair (half of
it has been restored), and long curls fall down to the shoulders. The
goddess turns her gaze somewliat towards the 1. ; doubtless something
has attracted her attention in that direction, for which reason she
has covered her 1. leg. Near this leg, and reaching up it midway,
is a large dolphin, connected with her thigh by a strong puntello ;
he serves less as a support than as a distinctive attribute. He
is plunging in the sea and seizes a cuttle-fish with his mouth.
On the dolphin's back are three marks, which suggest the proba-
bility that an Eros was there, and on the 1. hip of the goddess
a piece of drapery has been restored, where probably Eros touched
her. The statue is in excellent preservation. Besides the restora-
tions already mentioned we notice only a new piece on the dol-
phin's tail, and the breasts of the goddess seem to have been patched.
Her head and the upraised r. arm holding the drapery have been
broken off, but are antique, and belong to the statue. The marble
is Parian, of beautiful, large grain. The nude parts of the goddess
have been polished (a condition which is not merely to be ascribed
to modern re-ivorking) ; the drapery, the hair, and the accessories are
left rough, which gives a good artistic effect ; the execution is only in
decorative style, and the back has been very hastily done. H. i-8o.
The statue comes from Paris. Cardinal Mazarin is supposed to have
possessed himself of it first, and to have presented it to the King.
It may be the statue of which we find the following entry in the
Agenda of the Cardinal in the year 1643: ^^ Per la venere antica,
compreso il porta e V incassatura, saidi di Roma 216. sono pistole 72 "
(Laborde, Le Palais Mazariii, p. 185). Such a price would at least
seem very high for the two statuettes of Venus mentioned in the
Inventory of the Mazarin Palace (nos. 89, 112, cf under Wilton).
However that may be, the statue came later into the possession
of a certain Mons. de Beaujon, whose house was situated on the
Champs Elys^es, near the modern Arc de I'Etoile. During the
Revolution it was struck by some gun-shots, the traces of which are
still visible ; fortunately they are all in the back, as the precaution
had been taken to turn the face of the goddess to the wall. To

622 RICHMOND 2 a, 3.

ensure her safe keeping she was afterwards buried in the garden of
the house, and for about forty years she lay there hidden till she was
quite forgotten. However, about the year 1855 the statue was for-
tunately found and disinterred, and soon afterwards came into the
possession of Mr Cook. [*]

2 a. Statue of a Nymph. Only the lower half of the body
from about the navel is preserved. The goddess rests on the 1. leg.
The legs are enveloped in a wide cloak, which leaves the r. shin and
foot bare ; it is gathered before the abdomen into a large mass of
folds, and over it is a shell which must have been held by the Nymph
with both hands. The upper part of the body was quite nude. The
back is merely sketched. The toes of both feet, the curved edge of
the shell, and sundry parts of the drapery have been injured. New :
only a patch at the back. White marble. H. 0-90, including the
pedestal. \Bcnndorf\

3. Group of Eros in the Vine. Arch. Zeif., 1879, PI. 13,
pp. 170 ff. (Michaelis). The principal figure (H. o-8o) stands with
the soles of both feet — not with the tips only — on the ground ; the
position of the legs is somewhat stiff. Eros' long hair is gathered up
into a knot over the forehead. He has no wings. He is bending
far back to reach the grapes that hang down in rich clusters from the
vine which arches over his head ; for a gnarled vine, connected
with Eros by two supports, is growing behind and around him. The
branching tendrils, laden with grapes, make as it were a roof over
his head and quite encompass him. The vine forms a kind of open
work in marble ; the single pieces, much broken, have been carefully
put together again, mostly with the aid of metal pegs or thin metal
pins which are much eaten away, and which have caused serious
corrosion. Those parts of the marble that have been protected,
preserve throughout their original smooth surface, in strong contrast
to the exposed parts, which have been much injured. Also the front
part of Eros himself has been almost completely worn away by the
action of water, while his back and other protected parts are perfectly
smooth. Another statue of Eros, very like this one, was once at
Whitehall (cf Windsor, vol. xxvii. fol. 21. Arch. Zeif., 1879, PI-
14, 2), a third copy in Rome {ibid., PI. 14, i), a fourth in the
Louvre {ibid., PI. 14, 4. Clarac, 11. 282, 1460. Miiller-Wieseler,
II- 53> 676)- In the copy belonging to Mr Cook, we have to notice
important accessories. The head of Eros is thrown back, and his
look directed sideways so as to catch the glance of a little bearded
Pan (H. 050) who is skipping round him with his r. leg lifted high.

RICHMOND 3 a. 62^

He looks up at Eros and with both hands holds over his head a flat
basket into which a diminutive winged Eros (H. o-2o), sitting on the
branches, is about to drop a large bunch of grapes. A second
winged boy of the same size is flitting through the branches above
the r. hand of the principal figure. His r. foot is supported on the
outstretched 1. arm of a second bearded Satyr (same size) who
crouches, behind the head of the principal figure, on a branch, and
holds a bunch of grapes in his lowered r. hand. There is also a
bird among the branches. This vine so alive with Erotes reminds
us at first sight of the "green arbours" {)(X.uipa.l o-KidSes), which
surround the bed of Adonis in Theocritus (15, 118) : 01 8c' re KtHpoi
v7rep7ru)T(3i'Tat Epurref Oloi arjSovtS^es aefo/ici'av IttI SevSpuiV IIojTcoi'Tai
■KTepvyuiv ireipMnevoi. o^ov ax o^o). I have no doubt that the group
at Richmond gives us the original conception of the figure, as every
detail is explained here in the best possible manner; the idea is pro-
bably an ingenious and playful invention of an artist of the Alexan-
drian period (cf. Athen., v. pp. 198 D, 200 C). The execution of the
group before us is only decorative and anything but delicate, in
some parts it is rather superficial. It is almost miraculous that it
should have been preserved entire, with no modern restoration,
especially when we consider the fragility of the peculiar kind of
work. The pedestal is also preserved ; it is quadrangular, with slight
ornamentation: L. o'44. D. 0-28. The height of the pedestal is
about o'o6, that of the group itself i'o6. Fine-grained Greek
marble. It was found in 1864 in the Bagni di Roselle (Dennis,
Cities and Cemeteries, 2 ed., 11. p. 225), four miles distant from
Grosseto, near the ancient Etruscan town of Rusellae {Biillett. ddF
Inst., 1865, p. 68); thence it was taken to Florence and very soon
found its way into the possession of Mr Cook. [*]

3 a. Statue of Herakles, with a cornucopiae. The bearded
hero, his crisp hair wreathed with vine-like leaves, rests on his r. leg
in a very composed attitude ; the 1. leg is put a little aside, but
it touches the ground with the whole sole. The r. hand which is
lowered rests on the club which is placed on the ground. A lion's
skin, supported by a block of marble by the 1. leg, hangs over the
1. forearm ; the 1. hand holds a large cornucopiae, containing a
bunch of grapes, two ears of corn, two walnuts, a pineapple, an
apple, some other fruits, a trilateral pyramid, and a disk behind it
(cf. Annali dell' Inst, 1869, pp. 201 ff. Matz-Duhn, Ant. Bildw. in
Rom, I. no. 118). Two puntelli serve to join, one the club and the
r, thigh, the other the two shins. The pedestal is semicircular.

624 RICHMOND 4 — 6.

Benndorf thinks that the statue refers to an Attic type of Herakles,
anterior to the influence of Lysippos. Head, r. forearm, and shins
broken, but antique ; — new : only the middle part of the club. Good
work. Back but little finished. White marble. The statue is said
to come from Constantinople. H. i '28, of the pedestal 0-09. [Benn-
dorf.^ Possibly the statue identical with a small statue of Herakles
which Mr Newton saw years ago lying in fragments in a cellar of
Lord Stratford de Redcliffe's London house. The fragments had lain
there so long that his lordship had lost all recollection how he got
them, but believed they came from Constantinople. By Mr Newton's
advice he had the statue put together, and it was afterwards sold by
auction at Christie's for ^i 10. {From a letter of Prof . Neiuton.)

4. Small torso of a nude Aphrodite, originally with 1.
arm lowered and r. arm raised ; the hand may have held an ala-
bastron. The upper part of the body is strikingly small in com-
parison with the very large hips and the long thighs ; the figure is
altogether very slender. The body is smoothed over. The work is
rather delicate, only the back is not quite so carefully finished as the
front. Both arms, the legs from below the knees, and the head are
missing ; by the 1. hip may be seen the remains of a support. Beau-
tiful Parian marble {tye/uiites). H., from the neck to the knees, o'3i.
Said to have been found at Athens. [*]

5. Statuette of "Zeus Serapis." The god rests on his
I. leg, the r. is slightly bent. The lower part of the body, the back,
and the 1. arm down to the wrist are covered by an ample cloak.
The hand rests on the hip in a manner similar to that seen in the
common statues of Asklepios, though not quite the same. A head
of different marble, which is much worn (new : nose), is stuck on to
the body by means of a new neck. This head is like that of a Zeus ;
the modius (partly restored) on the head gives him the character of
Serapis. New : r. arm, including the shoulder, and the thunderbolt ;
the pedestal with the feet and an omphalos standing by the 1.
foot, which serves to support the cloak ; the fingers of the 1. hand,
small details on the drapery. Probably intended originally for a
Zeus and not an Asklepios; for the motive cf, for example, Clarac,
V. 921, 2345. Italian marble. H. 070. From the Pulszky col-
lection. [*]

6. Group of Dionysos and Seilenos, small scale. The god is
draped in a cloak, which however only covers his legs and back, and
rests lightly on the 1. shoulder, leaving all the upper part of the body
and the hips bare. A fillet is passed through his hair, which falls

KICIlMdNI) 7 — 9. 625

down on his shoulders in long curls. His r. arm rests on his head.
The god stands on his r. leg in too straight and stiff a position, his
1. foot being in advance, and supports himself on a much smaller
Seilenos, round whose neck and shoulders he has thrown his 1. arm.
Seilenos is draped in a coat with sleeves, which reaches nearly to
his knees, and in hose, both of a shaggy stuff; he also wears shoes,
and an apron round his loins. Stepping forward with the 1. foot he
clasps Dionysos with his r. arm, and lays the 1. hand on his garment,
near his 1. hip. The head of Seilenos, which is thrown back on his
shoulders, is bald ; on his chin is a long beard, and he has a flat nose.
He looks up to the god, who meets his glance with an enthusiastic
look. Dionysos' r. arm is broken in several places, and is perhaps
partly modern; his feet from below the garment, and a great jsart
of the pedestal, the noses of both figures, and some trivial details
have been restored. The execution of the nude parts of Dionysos is
weak, almost effeminate; the body is smoothed over and rubbed,
the head still more so. The rest of the group is somewhat super-
ficially treated. The popular name of the group, "Socrates and
Alcibiades,'' is also to be found on the drawing of a similar little
group, that was in the former royal collection at Whitehall (cf.
Windsor, vol. xxvn., fol. 28, no. 22). Beautiful Greek marble. H.
070. I'rom the Pulszky collection. [*]

7. Statuette of Kybele. She sits on a majestic throne with
a high back. She wears chiton and cloak, the latter so arranged that
it forms a veil over her head and falls down her back and over her
legs. Her head is surmounted by a modius. The lion lies on her lap,
in her r. hand she holds a patera, in the 1. arm the large tympanon.
This is a late copy of a well-known Attic type, and is not of Pentelic
marble. H. o"34. [*]

8. Bust of " Caligula." Beautiful bust of a youth, the face
turned r. The tip of the nose has been broken off but put on again;
a piece near the r. eye has been restored. A certain likeness to
Caligula cannot be questioned, but the face is broader, the form of the
forehead different; instead of the gloomy and wicked expression and
the pinched lips which disfigure Caligula's handsome features, we have
here a goodnatured look and frank liveliness. On the upper lip and
chin is a soft down. The hair is treated very superficially ; in other
respects the execution is very good, and the expression is remarkably
well rendered. Coarse-grained Parian marble. H. 0-45. Length of
face 0-19. Brought from Paris to England a few years ago. [*I>]

9. Child's head: expression somewhat embarrassed, curly hair.
2^1. C. 40

626 RICHMOND 9a — 12.

The body is clothed in a tunic buttoned on the shoulders. Pupils
expressed. Tip of nose new. Greek marble. H. 0^25. L. of face

O'lO. [*]

9 a. Two colossal busts of Claudius and Vitellius ; the
busts, draped, of coloured marble. Good work of the Cinquecento
or Seicento. [*]

10. Attic sepulchral relief. Stele with pediment, below the
pediment the name TL/xaphr] [C. I. Gr., 7002). The field is not
framed in by pilasters. On it stands a lady, unveiled, turning 1.
She has a fillet in her hair, and is quite enveloped in her chiton,
and in the ample cloak which almost covers her form, including the
1. arm. Her head is bent and her look directed to her lowered r.
hand, in which she holds a little dove. A little child, kneeling on the
ground, and also dressed, stretches up both arms towards the dove.
Delicate low relief of excellent art; firm outlines with extraordinarily
soft treatment of the surfaces. Pentelic marble. H. 0-82. L. above
0-35, below 0-38 ; field h. 0-56. The relief was formerly in the
possession of the chemist Dodd. [*]

11. Fragment of a round ara of Pentelic marble : a Bac-
chante, in fine doubled chiton and a wide, waving cloak, is dancing
to the r. with her head lowered. She holds up a tympanon in
her 1. hand and has raised her r. hand to strike it. This is a
favourite figure on certain so-called neo-Attic reliefs (Zoega, Bassir.,
PI. 84, no. 3. Miiller-Wieseler, 11. 48, 602 at the r. end). Below
are the remains of an ornamental astragalos. The work is spirited and
careful ; the figure excellently preserved ; all the rest of the relief
has been cut away close round the figure. H. 0-54. H. of figure
0-48. [*]

12. Fragment of a bas relief, of poor Grecian style, framed in
on the 1., broken on the r. and at the top. Bull. Napolet., v. PI. i, i.
A youth in a Phrygian cap, chiton and chlamys, stockings and shoes,
with a long lance or staff in his 1. hand, is standing, turned r.,
before a veiled lady, who is resting her 1. elbow on her r. hand and
laying her chin on her 1. hand ; she is taken in the act of stepping
to the r. Near her in the background is a female head with sharply
defined profile and a stephanfe in her hair. The common explana-
tion that the group represents Paris and Helena, accompanied by
Aethra, or Aphrodite (cf Overbeck, Gall heroischcr Bildw., p. 372),
does not seem satisfactory; the supposed Paris is much more like
a barbarian doryphoros. It may represent Medea assisting Jason
in one of his feats in Colchis. H. 0-82. L. 0-51. According to

RICHMOND 13 — 20. 627

Minervini (/. <-//., pp. 52 f.) the relief comes from Cumae; according
to a notice of Em. Braun's on a drawing in my possession it was
found at Pozzuoli in 1835. [*]

13. Large, round bowl of red porphyry, tolerably flat, of
the grand diameter of 1-93. Obtained from the Duke of Modena. [*]

14. Terra-cotta figure of a maiden at her toilette.
(See the annexed Plate.) A charming little figure. Front and side
views equally well composed and carefully worked out, the back
neglected. The maiden is sitting in a cushioned chair (legs wanting)
dressed in a chiton, while a cloak entirely envelops her back and legs,
and forms a frame to the body as seen from the front. The r. foot is
advanced, the 1. foot is drawn up and rests somewhat raised on a foot-
stool. She raises her two bare arms, the 1. to the side, the r. in front,
to arrange the hair on the 1. side of her face (the tress of hair and the
1. hand have been broken off); accordingly the head is somewhat
lowered and the glance directed sideways and downwards. A ribbon
is drawn through the hair. The colours are in a measure preserved.
The simple grace of the little figure is quite inimitable. H. 0"i3. [*]

15 — 17. Three terra-cotta slabs, like metopes, representing
Herakles with the lion, the hydra, and the bull. Similar terra-
cotta reliefs recur in the Campana collection and elsewhere.

The bronzes are very numerous. I only notice the interesting
examples, passing over others which are rather commonplace.

18. Statuette of Athene Polias, in the attitude of combat
which we see on the Panathenaic vases, only without the aegis. She
advances her 1. foot. Her cloak is laid across her bosom, the 1. breast
being only covered by the chiton, and falls down in zigzag folds.
The 1. arm is lowered, the r. raised, both forearms missing. On her
head is a round helmet, with an upright visor in front, on the crown
the remains of a plume. A tolerably broad tress of hair falls down
her back. Good figure. H. o-i8. [*B]

19. Statuette of Aphrodite, very small. She stands in an
attitude of repose, her legs hidden in her garment. Upper part of
the body nude. Both arms upraised and holding long locks of hair.
The head crowned with a stephanl-. H. 0-04. (There is a larger
copy of the same subject in which the goddess is quite nude.) [*]

20. Statuette of Apollo, standing upright, the r. leg slightly
in advance, the r. hand lowered, in his 1. arm the large cithara. He
is youthful and wears a wreath on his long curls. The lower
parts of the legs and the r. forearm missing. Delicate work.
H.O-OS. [*]

40—2

628 RICHMOND 21 — 25.

21. Statuette of Hermes, with wings in his tangled hair,
resting on the r. leg. His r. hand advanced and holding a large
purse ; the I. arm is lowered and probably once held the kerykeion.
Commonplace work. H. o'iS. [*]

22. Statuette of Hermes, resting on his r. leg. He wears
sandals; over his 1. arm lies the chlamys, the hand is upraised. In
the lowered r. hand is the remnant of the kerykeion. The head,
without wings, inclined somewhat to the r. H. o'i6. [*]

23. Statuette of a nude youth, like a Hermes. The
chlamys is fastened on the r. shoulder and falls over the r. shoulder
and arm. A twisted hoop is passed through the hair. In the r. hand
he holds a large snake; its open jaws hang down, and its head is very
like that of a dragon. A small ring on the back of the head shows
that the figure was destined to be hung up. The genuineness not
certain. H. ciy. ['''-B]

24. Statuette of a nude youth, remarkable for his very
long, smooth hair, which is parted on the crown and terminates on the
neck in light curls. He is in the act of walking, his r. foot being
already advanced. The r. arm was advanced, but the lower half is
broken off; the lowered 1. hand is bored through and held some-
thing. The hard treatment of the hair and the large eyes suggest
a modern origin, an idea which seems to be contradicted by the
beautiful green patina. H. 0-21. [''''-S]

25. Group of "Eros with the dolphin." Rheijiliind.
Jahrb., i (1842). PI. 3, i. 2, pp. 56 ff. (Urlichs). Miiller-Wiese-
ler, II. PI. 51, 644. A powerful youth, with strong pubes, remind-
ing us rather of Ares or Hermes than of Eros, both in the build
of his body and the expression of his face. He stands on his r.
leg, with the 1. slightly bent. In the fashion of the sig/ia panthea
this youth unites in his own person the attributes of various gods.
Hisl. hand, lowered and slightly bent, holds Poseidon's dolphin; the
quiver, fastened by a ribbon, suggests Apollo, of whom, as well as of
Dionysos, we are again reminded by the wreath of ivy and laurel,
bound with the fillet; the helmet, shaped in the fashion of a Phrygian
cap and terminating in a griffin's head, over which the high plume
waves, recalls Ares, and the upraised wings Eros. The r. wing is
missing, but the holes at the joint show that it must have been
separately worked. It is possible that the lowered r. hand held either
a kerykeion or a thunderbolt; now the arm is missing from above
the elbow. The feet liave been repaired. H. to the tip of the wing
o'i6. This graceful and well-executed figure was found at Bonn in

RK.II.MONl) 26 — 3-- ^29

1840, and belonged in the first place to Frau Sibylla Mertens-
SchaaflTiausen. [*J

26. Statue of a young warrior, in a chiton, with a short
breastplate over it; on the head a low helmet. L. arm lowered,
r. upraised. The disproportionately slender figure is an example of
provincial art, probably from Lower Italy. H. 0-62. [*]

27. Torso and head of a boy with long curls, eyes having
been put in. H. o'48. P'rom Italy. ["']

28. Head of a boy, broken off close under the chin, with fit,
infantine cheeks. Pupils expressed. Hair gathered up in a small
tuft over the forehead. H. o'i3. [*]

29. Invalid sitting. Hev. arc/ieol., i {li^i^). PI. 13, pp. 458 ff.
(Longperier). A sick man sitting in a chair which has lost its feet.
He is thin as a skeleton, every rib standing out. His arms and face
are equally bony. The eyes have been inlaid with silver. The body
is huddled together and stoops forward. A cloak covers the legs,
and on it, in two rows above each knee and on the lower hem, may
be read in punctured characters

which signify Ei8o/xi8as n€pS(.'K[Ka] (C. /. Gr., 6855 b). The patho-
logical character is realistically carried out. Evidently it is a votive
offering from a sick or convalescent person (cf Paus. 10, 2, 6).
H. 0-115. Found in the neighbourhood of Soissons, formerly in the
possession of Vicomte de Jessaint, cf. dc Witte, Mhiwires des antiq.
de France, xxxi. p. 168. Treu, De ossiitm human, imaginibus, pp.
47 ff. [*]

30. Head, usually called "Seneca." The reaHsm is kept
within moderate bounds, the hair very superficially treated. The
genuineness does not appear to me quite indubitable. H. o'35. L.
of face o'ig. [*]

31. Bronze weight, representing a female head with earrings
and stephan^. H. 0-12. [*]

32. Bronze vase, somewhat larger in the middle than at the
top and bottom. It has two graceful handles, and at the joint of
each is a Sphinx in high relief, crouching down and raising the 1.
fore-paw to the head, which is bent down and melancholy. Very
delicate work, carefully chased. H. 0-40. Said to come from
Pompeii. {*B]

630 RICHMOND 33 — -ijj.

33. Handle of an Etruscan cista: two youths in short chitons,
holding a nude corpse extended to its full length. [*]

33 a. There are also a number of handles for mirrors, formed
usually into human figures.

34. Cover of an Etruscan mirror with relief. Dionysos in a
cloak and with the thyrsos over his 1. shoulder is looking do\vn-
wards behind him and leaning on an Eros, who looks up to him as
he steps quickly forward. All the movement is to the r. A Bac-
chante precedes Dionysos and looks round at him, she wears a
chiton and cloak and plays a cithara. Similar example in Gerhard,
Etr. Spiegel, PI. 21, 2. Diameter o-i6. [*^]

35. Similar cover with relief. Aphrodite, the upper part of
her body nude, the lower part draped, is sitting to the 1., with a
sceptre beside her, looking up at a small Eros, who stands on a
little ridge of rock. A second Eros sits at her feet. Above him we
perceive a small cloaked male figure (?) whom Aphroditfe touches
with her right hand. Indistinct representation, badly corroded.
Diameter o'lo. \*B'\

36. Etruscan mirror. Herakles, wearing a skin as a chlamys,
and carrying the club over his 1. shoulder, is embracing a nude female
figure with his r. hand. Behind her back is a cloak ; she wears a neck-
lace of pearls, and shoes, and is sitting on a large dolphin with a long
tail. Another nude female figure to the r. is endeavouring to hold
Herakles back. The scene is encircled by a wreath, below on the
handle is a mouse. Diameter 0-12. L. with handle 0-25. [*]

niXING ROOM.

37. Bronze group of Peleus and Thetis. The pedestal,
which is oval, is formed by a kind of inverted hollow box, o-i8 long,
0-07 wide, 0-I2 high, adorned in front with a winged Medusa's head,
resting on four animals' legs, which are high and bent outwards; over
each leg a little mask. On this stands the group, 0-27 high, a repeti-
tion of the composition well known from vases. The youthful Peleus,
somewhat bent, steps forward from the 1., advancing his 1. foot; he
has curly hair and is draped only in an apron round the loins. His
1. arm is round Thetis' hips, in his r. hand he holds her 1. with a firm
grasp. Thetis is trying to escape. She wears an ungirdled doubled
chiton, the folds of which recall the zigzag style. Her long hair flows
down unbound, her entreaty for help is mutely expressed by her
upraised r. arm and face turned back. A panther is clambering up
Peleus' r. leg which is stepping back, and bites his back near his r.

RICHMOND 38 — 40. 631

shoulder. At Thetis' I. side is a large snake with a forked tail, which
raises itself from her knee up behind her back to her neck, and
forces itself over the upper part of Thetis' r. arm towards Peleus and
bites him in the neck. The group, which is meant to be seen only
from the front, is skilfully composed. The execution is very good.
It is in perfect preservation, but the surface has been badly corroded.
Total height o'^g. [*]

38. Round arched cover of bronze, (juite smooth, 0-23
in diameter. Above, a diskobolos serves as a handle. He steps
forward on the r. leg and draws back the 1., which is much bent; the
upper part of the body only slightly bent forward, the head more in-
clined. He holds the quoit in his lowered r. hand which is slightly
ad\'anced, the 1. arm is raised as if to preserve the balance, with the
open hand turned up to the head. A fillet passes through the hair
which falls down the back in a wide plait. A narrow band round the
hips is remarkable. The motive is uncommon, and seems to be
taken from a comparatively early type. H. of the figure o'oS. ["']

39. Greek mirror. A severely archaic Aphrodite does duty as a
handle. She is in an ungirdled chiton, standing stiffly in full face, hold-
ing a flower in her much advanced r. hand, and with the 1. lifting her
garment near her thigh. On either side of her head hovers towards
her a small draped Avinged figure, with legs very far apart, each
stretching one arm towards the head of the goddess and holding
back the other, with a small object in the hand. For similar mirrois
of Greek origin see Frankel, Arch. Zeit., 1879, pp. 100 f. 204. Total
height o'39. Diameter of the mirror o'i6. H. of the group beneath

it 0-20. [*]

In the cabinets of this room, besides many bronzes, are numerous
terra-cottas, but among them none of remarkable value.

BASEMENT.

40. Statue of Aphrodite, crouching. Cavaceppi, Race,
II. PI. 60. Clarac, iv. fi2 7, 141 1. Well-known motive. The upper
part of the 1. arm is adorned with a bracelet in the form of a snake.
The hair is gathered into a knot on the forehead and back of the
neck; some curls fall down the back and on the 1. shoulder. The
head is in a very bad condition, caused by long exposure to the
elements; almost the whole of the r. arm is missing and the 1.
hand together with the wrist. On the broken parts are pieces of iron
which show that some former repairs have been made (by Cavaceppi).
New: chief part of the 1. foot, wliich has been foolishly provided

6^2 RICHMOND 4I — 44.

with a sandal, though the heel wears none ; also toes of the r. foot.
The goddess leans her 1. hip on a swan, of whose neck only part is
preserved. Behind her r. hip stands an Eros, with his 1. arm on her
back and his r. arm on her body, looking up at her. His legs
are wide apart ; the 1. has once been restored, but now half of it
is lost. The joints of the wings are - preserved. The group has
been let into a new pedestal. Coarse work, intended probably for
architectural decoration. On the body are rolls of flesh which give
it an appearance of excessive fatness. Coarse-grained Parian marble.
H. 1-15. L. of Aphrodite's face, 0-19. Through Cavaceppi's hands
the statue came into the possession of Lord Anson (see Introd.
§ 41, note 174), and probably at one time stood in the Shugborough
collection. Cavaceppi set on it an extravagant value, styling it de/
pill famoso stile antico, eseguita con ammirabile morbidezza. [*j5]

41. Statue of Aphrodite, quite nude, resting on her 1. leg.
Her r. hand covers her breast, her 1. grasps the end of a dolphin's
tail. Remains of curls on the shoulders. New: head, fingers of r.
hand, feet and pedestal, and chief part of the dolphin. R. arm and
1. forearm have been broken off, but belong to the statue; legs
repaired. H. 092. [*]

42. Torso of a Satyr, beating time with the wooden shoe
(krupezioti) like the exainple in the Tribuna at Florence (cf Marbury,
no. 22). Though head, legs and arms have been broken off close to
the body, the direction of each of these members can be exactly
realised. Remains of the tail are preserved. The work is alto-
gether pretty good ; the stooping back with its strong muscles is
excellent. The breast is splintered away. H. 059; from the hollow
of the neck to the lap o'l?). [*]

43. Torso of Herakles (?), quite nude. He rests on the 1.
leg; the 1. arm was originally stretched out from the body horizontally
and probably rested on something, as we may infer from the stooping
position of the body. The r. leg was somewhat advanced, the r. arm
lowered. Indistinct traces in the neck hardly suggesting hair, perhaps
of a skin. H. 0-39. [*]

44. Upper half of a male portrait statue, from about
the middle of the thigh, where it is cut off square ; evidently the statue
was originally put together out of two pieces. The treatment of the
cloak corresponds to the Marbury statue, no. 18. The r. hand lies
on the tip of the cloak which falls down from the 1. breast, the 1. with
the remains of the roll is lowered. The head is missing. Somewhat
coarse work. H. 084. [*]

RICHMOXD 45 — 50. 633

45. Statue of a nude boy, with curly head, the hair lies in
the form of a jilait along the parting. With both hands the boy holds
in front of him a deep square box, in which lie round objects and a
ring, probably articles of jewellery. New: the lower parts of the legs
with the trunk and the pedestal, part of the 1. and all the r. arm with
half the box. The neck has been repaired in several places, but
the head appears to belong to the statue (nose new). Decidedly
decorative style. H. 0-47. ["]

46. Statue of Zeus ? An ample cloak covers legs, back, and
1. arm, one end of it is thrown in front over the 1. forearm. In the
lowered r. hand are the remains of a short sceptre, the head of which
lies close under the hand; on the 1. shoulder we see traces of a palm
branch. Both attributes suggest an arbitrator of contest {brabeutes),
perhaps Zeus as giver of victory and prizes of reward. The restorer
has completed the palm branch as a sheaf of corn, and has added the
1. hand, he has also put on to the statue a head crowned with ears of
wheat and has added the legs from below the drapery and the
pedestal. Of pavonazzetto, a material but seldom employed for
sculpture; but still above suspicion. H. 075. [*]

47. Double terminal bust. Zeus with an oak wreath, in
which are some acorns. The fice is very wide and has a curly beard.
Tip of nose new. On the other side Hermes (?), with a strange
kind of hat like a helmet, which covers his cheeks ; the edge juts
out, and over it are two wings. Partly restored. For similar heads
■i.<t&Gc\\\^\A, Antike Bildwerke,Y\. T,\Z. H. 0-23. [*]

48. Double bust of the bearded Dionysos and of Ari-
adne, both with narrow metal circlets in the hair. His hair and
beard are rendered in archaic style with button-like curls. New :
nose of Dionysos, nose and mouth of Ariadne. Work very poor. H.
0-30. [*]

49. Head of Dionysos, bearded, with an ivy wreath in his
hair and a fillet straight across his forehead. The long beard forms
loose, rough curls. The expression is insignificant. New : tip of
nose, and terminal bust in which the neck has been inserted. H.
0-50. L. of face 0-17. [*]

50. Bust of Athene, with round, so-called Attic helmet, pro-
vided in front with a narrow brim that stands up, ornamented on
either side with a winged griffin ; traces of holes on the top suggest
some adornment to the helmet, probably a plume. The hair is
wavy, it falls down on the back of the neck in a round coil, on the
shoulders are remains of long curls. The face is rather wide and

634 RICHMOND 51—57.

has been very considerably restored, forehead, 1. eye, nose, mouth,
chin, also some hair on the 1. temple being new. The bust,
which is turned somewhat to its right, was intended to be let into a
statue. Unfortunately it has been much rubbed and defaced. H.
0-43. L. of face o'i8. [*]

51. Head of Artemis, with pleasing expression. A fillet passes
through the hair and a crescent fastened to it rests on the fore-
head. Broken at the neck. Superficial work. H. 0-24. L. of face

0-17. n

52. Bust of a Roman matron, draped and veiled, with a
woollen cord in her tangled, wavy hair. Thin lips. In perfect pre-
servation. H. o'92. L. of face o'i8. [*.B]

53. Female bust with the hair parted from the temples, and
then drawn back in unusual fashion, and combed upward with the
rest of the hair to form a knot in the shape of a ball. Just like
no. S3 in Lansdowne House. New: nose, mouth, chin, neck and
bust; the simplicity of the treatment reminds us of heads of Amazons.
Coarse-grained marble. H. of the genuine part abt. o'24. L. of
face o-i8. [■'£]

54. Female portrait bust, Roman, with delicate features ;
allied to the statue of Antonia in the Louvre. The wavy hair termi-
nates in a plait ; along the forehead it is cut short in a fringe.
Behind the ears two curls fall down. New : nose, and draped bust
of coloured marble. L. of face 0-14. [*-5]

55. Small head of a laughing girl, something like a
satyress, but not having pointed ears. The hair is brushed up and
an ivy wreath rests on it. New : tip of nose and breast. Coarse-
grained marble. H. of genuine part abt. o'ig. L. of face o"i3. [*]

56. Greek sepulchral relief, broken off above and on the
r. edge. A lady, in somewhat high relief, is standing in full face,
fully dressed, but not veiled (head broken off); r. arm is slightly
bent and rests in her cloak; 1. arm lowered. (Cf. Clarac, iv. 766,
1889.) At her r. stands a diminutive female servant, in much lower
relief; she is holding with her r. hand a basket furnished with a
handle, with the 1. a fan shaped like a leaf Broad sculpture. Coarse
grey marble. H. 0-94. L. at the top 070, below 076. From
Sicily. [*]

57. Front of a sarcophagus with relief of Meleagros.
In the middle Meleagros, wearing the chlamys and having a fillet in
his short, rough hair, is attacking with brandished spear the mighty
boar which is almost hidden in his den, but has its r. forepaw on a dog.

RICHMOND 58. 63s

between Mcleagros' legs lies a double axe. Atalante in hunting
costume, her open quiver on her back, the bow, from which she
is just shooting the arrow, in her hand, comes up next to Melea-
gros; her hairdress is arranged in waves. Behind the den a
bearded man is throwing a stone down upon the boar; then a
youth, in all respects like Meleagros, hurries up with poised spear;
between his legs is a dog. Ne.\t comes a tree. On the further
side of this tree, at the r. end, stands a man, bearded, with a
sword-strap across his breast and the chlamys behind his back.
He lays his r. hand sadly on his wounded r. thigh ; his 1. arm, which
probably grasped a spear, is almost entirely broken. To the L,
behind Meleagros, approach the two Dioskuroi, each wearing the
chlamys and an egg shaped cap, the foremost with the spear in his r.
hand and the 1. upraised. Artemis, in hunting costume, hurries away,
at their approach, looking back on the scene as she runs; between her
legs is a dog. Then follows Ankaeos, a huge form like a Herakles,
girded in a skin and with a double axe over the 1. shoulder; finally the
bearded Oeneus, fully dressed and with his sceptre, appears, only
partly presers^ed. In excellent preservation, and exhibiting unusually
good treatment in the relief. H. 0-85. L. i-88. This version of an
often-repeated scene has been hitherto overlooked by those who
have collated the various sarcophagi relative to Meleagros (cf on
Broadlands, no. 21); it comes from the nei£;hbourhood of Naples.

58. Front of a sarcophagus with relief of an Amazono-
machia. A warrior (Achilleus) dressed in helmet, chlamys and
boots, a round shield on the r. arm and a spear in the hand, stands
in the centre, his 1. arm thrown round an Amazon (Penthesilea), who
is sinking to the ground. She, like her comrades, wears a round
helmet, chlamys and boots. On the ground, at the feet of the con-
queror, lies a second Amazon, dead. The conqueror's look however
is not directed downwards, but backwards towards an Amazon on
horseback, hurrying away, who is defending herself with drawn sword
against a fully armed, bearded warrior (sign on his shield a gorgoneion).
This warrior is stabbing her in the back from above with his sword ;
at the same time the Amazon is attacked in front with a spear by a
mounted, bearded warrior in helmet, chiton, chlamys and boots.
Beneath the horses on the ground lies an Amazon with her horse,
both dead. On the extreme 1., as a corner figure, is a winged Nike
in a long Doric chiton ; one leg and her breast are bare ; she
shoulders her sheathed sword in her 1. arm. To the r., on the

636 RICHMOND 59 — 62.

further side of the principal actors, follows a perfectly symmetrically
arranged group. Again a mounted Amazon, having a pelta on her
1. arm, is defending herself against a bearded warrior who attacks
her in the back, and is also at the same time threatened in front by
a youthful horseman (badge on his shield a gorgoneion). A horse
lies on the ground, also a dead and a wounded Amazon, the latter has
a pelta. On the extreme r. the figure of Nikt: is repeated. In excel-
lent preservation; very good sculpture, though perhaps not quite so
good as that of no. 57, in the same locality with which this sarco-
phagus was found. H. 0-89. L. 2-26. [*]

59. Fragment of the front of a sarcophagus. Two
sea-panthers swimming towards each other, carrying on their backs
nude Nereids with waving, fluttering veils and holding flying ribbons
in their upraised hands. On either side traces of a similar group.
H. 0-29. L. 1-17. [*M]

60. Terra-cotta relief. Two Amazons in Phrygian caps,
rather long chitons and boots, in a half kneeling posture, are holding
in symmetrical disposition a shield, adorned with a gorgoneion.
Above and below, an ornamental bordering ; the relief served some
architectural purpose. H. 0-26. L. o'3i. There are six rephcas
of this in the collection. [*]

61. Etruscan sepulchral urn of terra-cotta. Between
two pilasters is represented a battle scene, consisting of five figures
{e, d, a, b, c). A youth {a) in a chlamys (his helmet lies on the
ground) has sunk on his knee and, while he draws his sword, is
protecting himself with his shield against (b) an advancing enemy,
who approaches from the r. with fluttering chlamys and drawn
sword : his shield lies on the ground. Behind b a comrade (c)
provided with helmet, shield, chiton and corslet, lifts his arm for a
mighty stroke. From the 1. a warrior {d) with chlamys, shield and
drawn sword hurries up to the assistance of his fallen comrade {a).
Behind his back another {e) looks on at the scene without doing
anything. H. 0-38. L. 0-38. D. 0-30. The cover, representing a
female figure reposing, is too small for this urn. ["*]

GARDEN MUSEUiM.

62. Torso of a female draped statue (Muse?) of very
elegant description. The figure is very slender; it rests on the
1. leg, the r. being somewhat drawn back. The thin chiton is girded
high, and has a diploidion descending to the hips ; the chiton
is so long that it falls about the feet in rich graceful folds which

RICHMOND 63—65. 637

lie on the ground. Over the chiton is thrown a thin cloak in sub-
stance like a veil ; the folds of the chiton can everywhere be seen
through it (in the style of the Polyhymnia of Berlin). The upper
edge of the cloak, gathered into a broad mass, goes obliquely from
the r. hip up to the 1. shoulder ; the lower edge lies nearly parallel
with it, from below the r. knee to the 1. hip ; the tips fall in part
from the 1. shoulder and in part from the 1. hip, although it is not
quite clear how they are made to do so. The broad lines of the main
divisions of the cloak, and the transparency of its tissue through which
the folds of the chiton can be seen, are excellently combined. The
1. arm, now missing, was worked in a separate piece ; it was lowered,
and pressed one tip of the cloak against the hip. The r. arm was also
worked in a separate piece ; it was held horizontally, as though a
sceptre or something of the kind had been in the hand; of this
arm only the piece by the shoulder is preserved. The head is
missing; a piece has been cut straight oft' the r. foot, perhaps be-
cause the block of marble was too small and the foot had to be put
on afterwards, perhaps in consequence of some later injury. The
whole statue has been let into a modern pedestal. The back has
been left quite rough, so that it is even difficult to follow the main
motives of the drapery. In other respects the statue is of excellent
effect, though the execution is by no means very fine. H. 1-35.
Purchased in England. [*J5]

63. Bust of L. Verus. The hair and beard are treated in
a somewhat hard and dry manner, and perhaps here and there have
been touched up. In other respects the bust is good and in perfect
preser\ation. Pupils expressed. The head has never been severed
from the bust, which is protected by a corslet over which falls the
paludamcntum. On the corslet in front is a (half-concealed) head
of Medusa ; on the shoulder-flap a giant with legs like serpents.
Pentelic marble. H. o-68. L. of face abt. 0-21. Found at Mara-
thon. Purchased from Rollin and Feuardent in Paris, who also
sold to the Louvre a precisely similar bust, found in the same place,
of M. Aurelius. [*£]

63 a. Six Colossal busts of Emperors, modem.

64. Terminal head of the bearded Dionysos, in hieratic
style. New : nose, great part of the beard, some of the hair. On
the modern terminal pillar stands IIAATUN. PI. of genuine part
o'22. L. of face abt. c 1 5. [*]

65. Medallion, in diameter o'49. From a tolerably flat field,
which is framed, rises in extremely high relief a youthful portrait-

63S RICHMOND 66, Gj.

head, inclined downwards somewhat to its r., with the figure as far
as below the bust. Body nude except for a piece of a cloak that Hes
on the 1. shoulder. The hair, which is short and straight and brushed
to the 1., is somewhat drily treated (cf. Knole, no. 10); on the
upper lip and chin a faint beard sprouts. Pupils expressed. New :
nose, great part of both ears, neck and small details. On the
field just above the 1. shoulder a small square tablet, without
inscription. The head is attractive and pretty well executed; it is
likely to represent a Greek. Good Parian marble. H. 0-53. L. of
face o'20. [*^]

66. Large mixing bowl {krafer) in marble with grey stripes,
shape and ornamentation somewhat clumsy ; foot and handle new.
Front side: two Victories, like those on the choragic reliefs, are
standing opposite each other and pouring something into a cup from
a ewer that is raised very high; between them is a tripod round
which snakes are entwined and on which burns a flame. — Reverse
SIDE : two girls dancing r., their drapery and head-gear like those in
the Villa Albani (Zoega, Bassir., PI. 20; cf Schreiber, Villa Ludovisi,
p. 102) ; they are an exact reproduction of the two figures on the
1. of that plate, even the plant growing up so high between them is
not wanting (the altar is not there). — Below each handle are two
thyrsi crossed ; the junction of the handle takes the form of an
ivy-leaf. The relief is low and has been touched up almost all
over, so that one might well doubt its antique origin, did not the
comparatively good work of the second side make this idea unlikely.
In other respects the execution is dry and insignificant. H. cSo.
Diameter abt. o'So. [*]

67. Sepulchral stele of Archippos, in very perfect pre-
servation. The architectural arrangement is very similar to that in
no. 204 at Oxford. The pediment, which has akroteria, is adorned
with a shield; the frieze below has two rosettes and between them
a wreath in a square field hollowed out; within the wreath are the
words d B^fjLO';. On the epistyle stands 'Apxnnrov Ai'uvo?, the
shape of the letters being that of a good Roman period {C. I.
Gr., 3224). In the relief field which is framed in by two pilasters,
stands Archippos, beardless, draped in chiton, cloak and shoes.
He is laying his r. hand on the wreath on his head. (His nose
and a small piece of one finger have been restored.) A vase
in the form of a soup plate with a cover {-n-X-qfj-oxo-q) stands on a
pillar in the background. To the r. and the 1. a diminutive attendant
leans on each of the pillars that form the frame, the one to the 1. in

RICHMOND 68 — 71. 639

a comfortable posture of repose, the one to the r. holding a little
cloak over his r. arm and in his 1. hand some object that may be a
fillet ; it is like a small triangular rule and two ears of wheat spring-
ing forth at one corner ; underneath a high pedestal. Yellowish
grey marble. The relief comes probably from Smyrna ; it is remark-
able for the carefulness of its work and the freshness of several
motives, like no. 68, which in externals is precisely similar and
which is derived from the same collection of the Grimani-Spago Palace
in Venice (of Thiersch, Eeiscn in Italicn, i. p. 256). H. 1.54.
L. 0-62. [♦]

68. Sepulchral stele of Phila, like the last one and from
the same collection. In the pediment is a rosette ; on the frieze
between two rosettes a low wreath with the inscription d 8^/xos;
on the architrave ^'iXom ' ATroX.\d&o<; (C. I. Gr., 3253). On the
relief field to the 1. the veiled Phila is sitting on a high chair, her r.
hand on her bosom, her 1. on her knee and her feet on a footstool.
Near her chair stands a very diminutive maid in a chiton with a
spindle (?) or a top in her r. hand. A female servant on a larger scale
approaches from the r. and brings her mistress an open box. In
the background on an elevation stands a small cabinet with folding-
doors wide open. That there were once some ornamental additions
of metal is suggested by traces of several holes and remains of lead
castings. H. 1-47. L. 0-63. [*]

69. Sepulchral stele of Epiktesis. The pediment pro-
vided with akrotcria is without ornament. On the architrave stands
in good letters of the Roman period 'Ettikd^o-is 'Oiao-ou KvOrjpiov \
6vya.T-t)p (C. I. Gr., 669). In the relief field the deceased lady,
unveiled, stands in full face ; she has wavy hair, is draped in chiton
and cloak, which she is in the act of throwing over her 1. shoulder
with her r. hand (cf Clarac, v. 921, 2349); her r. hand is before her
breast, her 1. hand lowered. On her r. there approaches a diminutive
female attendant in a chiton, carrying a box in her hand, on her head
a cap like a modius. The style is better than that of most of the
sepulchral reliefs from the Islands; the execution is somewhat coarse.
Marble not Pentelic. Yi-vo-j. L. 0-65. From the same collection
with nos. 67 and 68. [*^]

70. Fragment of a sepulchral relief All that is preserved
is the torso of a female, in the same attitude as that of Epiktesis
(no. 69); feet and head are missing. Usual style of the Greek
Islands. H. o'47- [*]

71. Fragment of a sepulchral relief in a frame; tlie

640 RICHMOND 71a — 73.

relief is very low. The upper part of the body of a youth facing r. is
preser\'ed, his r. arm concealed by his cloak which covers the whole
of his body, his 1. arm lowered. The figure is preserved down
to the thighs. The relief is rather graceful. It is an imitation, but
a considerably inferior imitation, of fine Attic works (cf. Woburn,
no. 100). Italian marble. H. o'23. L. ciy. [*]

71 a. Modern copy of the Zeus from one of the Barberini
candelabra {Mus. Pio-Clcm., iv. 2). [*/>']

72. Fragment of a Greek sarcophagus, partly like the
relief in Stephani's Aiisriihendcr Hcraklcs, PI. 2, i. A tipsy boy,
with the chlamys thrown in the fashion of a shawl about his neck
and holding out a bunch of grapes in his 1. hand, is tumbling back
into the arms of a winged companion, whose hair is curled on either
side, but woven into a kind of plait along the parting, a chlamys
fluttering at his back. This group, in fairly high relief, occupies the
1. part of the slab. To the r. a Satyr, of smaller stature and in
lower relief, is hurrying further to the r. He wears a fillet in his
hair, with both hands he grasps the edge of a long wine-skin (?) that
rests on his 1. shoulder. Above and below is a simple border. The
marble is covered with plaster or colour, but it may be Pentelic.
For similar compositions on Greek sarcophagi cf. Matz, Arch. Zeit.,
1872, p. 16. H. o-So. L. 1-02. [*]

73. Sarcophagus. Bacchic Scene. In the centre the medal-
lion of a man with an ill-humoured expression, with a closely shaven
beard, in tunic and pallium. The scutcheon is held by two youthful
Centaurs who, each having a bearded companion, draw a chariot; all
four Centaurs crowned with fig leaves. The old Centaur to the 1. is
playing on a lyre; we notice on his back traces of the feet of a small
boy. The old Centaur to the r. is elevating above his head a drinking-
horn ; his 1. arm clasps a tremendous goblet into which a small boy
standing on his equine back is peeping (head and 1. arm broken
ofQ. On the chariot to the 1. stands the youthful Dionysos, partly
covered by his cloak, vine-leaves in his long hair, laying his r.
hand on the thyrsos, emptying a wine-cup with his 1. hand. A
Maenad, in long robes, blowing the flute, goes along beside the
chariot (flute and r. forearm broken off"); under the chariot a panther
bounds. On the chariot to the r. stands Ariadne, in a long chiton
with sleeves, and a cloak, her hair adorned with a fillet and
grapes, her 1. hand is laid on her sceptre, with her r. she is
emptying a kantharos. Beside the chariot goes a Maenad, playing
the cymbals. At the feet of the chariot hurries a horned and bearded

RICHMOND 74. 641

Pan, with the pedum in his 1. arm (r. tbrearm broken), looking
round to the 1.; he, Uke all the figures which follow, is on a much
smaller scale. Under the body of the Centaur with the goblet a little
boy is pouring wine from a skin into a vessel, which a second boy is
seizing (r. arm missing). Below the scutcheon stand Pan and an Eros
without wings, both holding their hands behind their backs, opposite
each other for a wrestling match ; on either side stands a boy in a
cloak as arbiter of the contest, much e.xcited. Finally under the
Centaur with the lyre a boy (1. arm missing) is hurrying away
frightened, as his companion, kneeling on the ground, opens the
cover of a round cista and reveals a large snake. — On the two sides
are shields. — Very good sculpture in excellent preservation. H. o-68.
L. I TO. D. 066. [*J/]

74. Oval sarcophagus. In the centre lies the deceased, an
elderly man, beardless, and with a Roman nose. He is support-
ing himself on his 1. arm, and his r. is thrown above his head. The
upper part of his body nude, the ample cloak on which he is resting
conceals his legs, back and r. arm. An Eros, winged, as are all the
Erotes on this sarcophagus, hovers over him with a torch in his r.
hand; he takes hold of the cloak as though he would cover up the
dead man completely. A second Eros, with a torch, also hovering,
touches the r. hand of the deceased. Both Erotes wear fluttering
chlamydes. Below the last-named Eros, at the head of the deceased,
sits an Eros on a block of rock, his head supported sadly in his r.
hand ; his arm rests on his knee. Behind him are two Erotes occupied
in collecting fruits into a basket. Above them is a tree from which
a wreath of flowers hangs down ; this wreath is woven by an Eros
sitting, who has more flowers lying on a low table in front of him.
At the extreme r. end a laurel tree on which a quiver hangs; beside it
flutes, torches, and apples. — To the 1., at the feet of the deceased,
a large Eros with waving chlamys approaches flying and bring-
ing a garland in his hands. He is looking round at two smaller
Erotes, who also wear the chlamys, of whom one, sitting on a mass
of rock, is playing the cithara, the other blowing on the double flute
(the straight and the crooked) ; between them is a basket with
fruit. Underneath this group an Eros is kneeling in the midst of
several baskets and vessels filled with fruits, and from among them he
places a basket at the feet of the deceased; behind him is a hare
lying in a grotto. At the 1. end is another laurel tree etc., as above.
— Good sculpture ; in almost perfect preservation. H. o'6o. L. 2T0.

M. C. 41

642 RICHMOND 75 — So.

75. Fragment of a small sarcophagus, broken on the r.
and 1. and below. Dionysos is reclining in a low four-wheeled car
drawn to the r. by two panthers, his head to the spectator's r. The
ample cloak on which he is lying only envelops the lower part of his
legs, his r. hand rests on his head, which is crowned with a vine wreath,
in his 1. arm lies the thyrsos (very much injured). Eros, represented
as a youth, and not as a child, and without wings, is sitting on the
foremost panther ; he holds the lyre in his 1. hand, raising his r.
arm (forearm missing), and turning his head back to the god.
In the background between Eros and Dionysos appears a young
Maenad, with a handkerchief round her head and a thyrsos in her
1. arm; she is looking down upon the god, whom she touches with
her r. hand. Beside her a Satyr is stepping briskly forwards over the-
necks of the panthers ; he is looking round and holding in his hands
a thyrsos, very much broken ; he has an apron round his loins.
Above Dionysos' legs appears the upper part of the body of a second
Maenad without the kerchief on her head ; she advances her 1. arm
(hand missing) towards the god, her r. rests on a vine stem heavily
laden with grapes that shoots up at the feet of the god. A second
Satyr is holding the stem with his 1. hand, all the rest of him has
disappeared except his head and his r. hand resting on it; below him
are remains of a rock. — Very high relief Ordinary work. H. 0-2 8.
L. 0-54. [*M]

76. Fragment of a sarcophagus, complete on the 1.
side. A winged Eros with a cloak behind his back is hurrying up
from the 1. On the r. shoulder of a companion who is crouching
down he lays a heavy ball, which the companion seizes with his r.
hand. A third Eros girded with an apron and very much broken
has been restored in the action of occupying himself with a flower-
basket. Very graceful motives. Good work. H. 0-30. I,. 0-37. [*i)/]

77. Right end of a sarcophagus. Eros, asleep, leaning
on the inverted torch. H. 0-45. L. 0-26. [*]

78. Left corner of the lid of a sarcophagus, in the shape
of a quadrant. The same subject as no. 77; beside Eros his bow
and quiver. H. 0-26. L. 0-23. ['■]

79. Right corner of the lid of a sarcophagus, in the shape
of a quadrant. Mask in a Phrygian cap. H. 0-20. L. o'34. [*]

80. Sepulchral urn, square, with ornamental reliefs. In-
scription : D{ts) M{anibus) \ L. Caspcrio \ Epaphrodito \ Phengis
m(aritd) \ b(ene) m(erenti) f(ecit); to judge from the writing, the
inscription is suspicious. [*]

RRIIMONI) Si, 82. KUKKliV HAI.I, I. 643

81. Small sepulchral monument, rounded at the top. A
youthful horseman is piercing with his spear a lion or a bear, which is
looking forth from a grotto to the r. ; a dog is barking at it. This
sculpture is hardly a suitable one for the tomb of a child of one year
old, who is thus referred to in the inscription : D. M. \ Macrinio
Maximino filio \ duldssimo, qui vixit an. I m... \ Macrinius Maxi-
WZ///W INCi-^V I PREr....>«V. From Sicily. [*]

82. Relief: three masks, lying on the ground. (Very similar,
M-ailer-Wieseler, 11. PI. 33, 388.) To the 1. is a head of Herakles
with the skin drawn over it, and below, a club. Behind this a youth-
ful head. To the r. an archaistic head of Dionysos, with pointed
beard, a knot of hair on his forehead and a tuft; underneath is a
low cista half opened. Good high relief. Greek marble. L. 0-39.
H. 0-27. [*]

Besides these marbles Mr Cook possesses an important collection
of gems, and some painted vases, among which is one by
Nikosthenes {Arch. Zeit. 1874, i)p. 60, 61).

ROKEBY H.\LL (Yorkshire).

Volkmann, Reisen, iv. p. 100. Matz, Arch. Zeii. 1873, pp. 25 f.
Michaelis, Ibid., 1874, p. 61.

This residence of Colonel Morritt is situated in the midst of a
splendid park three miles from Barnard Castle. The collection was
made by J. B. S. Morritt, Esq., who from the year 1798 was a
zealous member of the Dilettanti Society, and played a part in the
investig.ation concerning the Elgin Marbles, see Report from the
Elgin Committee, &c., p. 128. Cf. Introd. § 67. I visited the col-
lection in 1873.

HALL.

I. Sepulchral stele, very much tapered, finished off at the
top with only a simple moulding. A female figure, unveiled, in chiton
and cloak, is holding out some small object in her 1. hand to a large
snake that is winding itself round the stem and branches of a large
pine-tree. An incomprehensible object is hanging down from one
of the branches ; it can best be compared to a tent in the form of a
sentinel's box, but it is so contrived that the point of the tent is split
into two parts. (Matz thinks it may be a piece of drapery, since many

41—2

644 ROKEBY HALL 2, 3.

such offerings were made to the gods as votive gifts, cf. Michaelis,
Parthenon, pp. 307 ff.) At the foot of the tree stands a round altar;
between this and the principal figure are two diminutive female
attendants unoccupied. At the 1. end of the relief a small vase stands
on a high pillar ; at the foot of the pillar are two more diminutive
attendants, one holding a tablet and the other a bird. Very high
relief, of late but not bad style ; may have come from Asia Minor or
the Islands. H. 0-46. L., below 0-39 ; above 0-31. [*iJ/]

2. Sepulchral stele, in a similar form and style, and
probably of the same origin ; broken at the top. To the 1. a female
figure sitting in a chair, robed in a chiton ; a cloak covering her legs ;
her feet resting on a low, broad footstool. A little girl in a chiton
with a cloak about her legs is sitting in her lap ; she is looking up at
her mother and laying her r. hand on her shoulder; in her 1. she
holds a plaything that is more like a miniature thyrsos than any-
thing else : it is a long staff with a knob at the top, from which a
ribbon goes to about the centre of the staff. The mother lays her
lowered r. hand on the back of a somewhat bigger girl, who is also
robed in a chiton and cloak, and who is standing on the ground and
steadying herself by holding the cross bar of the chair with her 1.
hand, while she stretches out her r. hand to a goose. The goose is
sitting in front of her on the ground, turning its head round to her
and pulling at the corner of her cloak with its beak. Geese are well
known to have been favourite domestic animals. This pretty family
scene is made quite complete by the appearance of the father, who
from the r. looks on at his children playing. He is raising his r.
hand to his chin. He wears chiton, cloak and shoes. The heads of
the two principal figures have been broken off with the upper piece of
the slab. The marble is finer than that usually employed for the
sepulchral reliefs that come from the Greek Islands. H. o"38. L.,
below 0-36 ; above o'3 1. [*]

3. Sepulchral stele, much tapered towards the top. In the
field a man and woman stand close together in full face, the man to
the 1., the woman to the r. Both are completely draped, the female
figure veiled. The man holds his r. hand up to his breast in his
cloak, the female figure (head knocked oft') raises her 1. hand to her
chin, supporting her arm on her r. hand. There is something co-
quettish in these movements (cf. Oxford, no. 89). Beside the man
stands a diminutive attendant in a chiton, his arms and legs crossed ;
near the female figure is a diminutive female attendant. The upper
piece, including the heads of the two principal figures, is missing.

ROKKBV II AI.I, 4. 645

Ordinary style of the sepulchral reliefs from Rhencia. H. o'5o.
L., below 0-45 ; above o'^g. [*]

4. Sepulchral stele, broken off at the top. On the sunk
field of tlie relief is a female figure in full face, quite enveloped in
her chiton and cloak, excepting her head. On either side, leaning
against the raised border, stands a diminutive female attendant in a
chiton; the one to the 1. carries a little box, the one to the r. is
supporting her chin on her r. hand. The coarse style is that of
the sepulchral reliefs from the Greek Islands and the coasts of Asia
Minor. Underneath is an inscription of ten lines, of which I was un-
able to make a copy. From two paper impressions and a photograph
my colleague. Prof Rudolf Schoell, has with great difficulty but with
sufficient certainty deciphered the following verses :

AEINHMEI2AIAHNMOIPHrArENOY0YFOMHTPO2

XEIPnXHMEAEHNYM<I>IAlON0AAAMON

HAYGONOYAErAMOYPEPlKAAAEOSYMNONAKOYSA

OYAETERNQNTAYKEPONGPHNOXEMAHArOTMOa

«YMHAEEPJIOrENOYKIKAH2KOMAIAAAA2YXAIPE

EEINE020AOYBAINEI2HAYTATHNATPArON

ArrEAAEEISOIKONTHMHKAKOAAIMONIMHTPI

KAIMHAEIAYrAI2KAIAAKPYOI2I<l>PENA2

TPYXEIXOYrAPEMOIMOYNHTOAEMOIPEnEKAfJ2EN

KHA020PnAETEMOYKPE220NA5EINAIATA.

On the monument the transverse stroke of the A is bent like a v.
The interpretation would be as follows :

AtLVTj fi. th Ai&rjv fj.OLp' -ijyayfv, ovO' vtto /j.ijTpO'S

^iipuiv -q ixlXif] wij.(JilSlov diiXa/iov
fjXvdov, ovSt ydfiov TrepiKaXAeos vfxvov UKOvaa,
ovbi TiKvoiV y\vK€pdv Oprjvov l/ia^a iror/iois (?).
5 [2]v/ixj; Sc 'Ep/xoyivov KiKXijaKoixai' otAAa ot) xcupi,

^cive, OS 6S0V ySaiVcts i^&VTa,Trjv ixTpaTToV
ayytXXe cts oikov Tijp.y KaKo8aip.ovi p.rjTpi,
KoX jxt] ail XvTrais koj. SaKpvoKTi (f)piva%
Tpv)(€iv' ov yap i/jLoi fiovvrj to'Sc ftolp' iirtKXwcrfv
10 K^Sos, opco 8* €T* i/iov Kpiacrova^ tiv 'Ai'8[a].

The phrase in v. 4 is rather obscure, but the reading seems to be
certain. The name of '^vp.-q, v. 5, would well suit the Islands, Symh
being an island near the coast of Karia, and its name being derived
from Symfe, the daughter of lalysos ; the same name may be restored
C. I. Gr. 8485 instead of CIMH. V. 10, it is uncertain whether

646 ROKKBY HAI.I. 5, 6.

S' It or St y should be preferred ; at the end of the verse 'Ai'Sa is
more likely than 'Ai'Scm, although it would be the only Doric form
(cf. Oxford, no. 147; C. I. Gr., 710; Kaibel, Epigr. Gr., no. 372,
13). The palaeographical character indicates the second or the last
century B.C. H. 0-46. L., below 0-38 ; above 0-36. [*]

OUTSIDE THE HOUSE.

5. Fragment of a sepulchral relief, in grey marble, as is
customary in the Greek Islands, but of unusually thorough execution.
To the r. are the remains of a fluted column, against which, with easy
flow of the Hnes, leans an attendant, his pretty little curly head, with its
two plaits along the parting, bent, his legs crossed. He wears a chiton,
with a separate border fastened on ; a shawl hangs down from his 1.
shoulder and is held in his r. hand, and in his 1. he holds a round
box. The figure is excellently conceived. On his 1. hand stands an
old man whose proportions are considerably larger ; he has a bony
face without beard, and a fillet passes through his hair; his face
is full of expression. He wears a chiton and cloak. His r. hand
(very well executed) lies in front of his breast on the edge of his
cloak ; his 1. hand, concealed by the cloak, is lowered. Below the
1. hand the cloak forms several elegant, somewhat over-elaborate
folds. This cloak too has a border. The r. leg from below the
cloak missing, the advanced 1. leg entire, except the foot. Very high
relief. The fragment stands out among the many similar reliefs by
the excellence of its workmanship. H. o'66. L. 0-35. [*]

UPPER STOREY. ANTE-ROOM.

A number of Roman statuettes in marble, that have been
very much restored, standing on consol tables.

6. Statuette of Fortuna, in a thin chiton, ungirdled, and a
cloak which envelops her head, 1. arm, and the lower part of her body.
Hair parted and falling in two stiff curls by each cheek. She is
crowned with a stephanb, over which a crescent is introduced ; be-
hind this a high kalathos is visible, which is also covered by the
drapery. (Cf. Archaeologisch-epigraphische Mittheilungen aus Oester-
reich, i. PL 3.) The face is full and without expression. The 1. hand is
advanced, holding ears of wheat and poppies. The feet are covered
with sandals; near the r. foot stands a modius, over the edge of
which ears of wheat hang down ; the handle of the steering paddle,
which rests on the modius, is held by the r. hand. This hand and
the greater part of the arm have been restored. \_M\

ROKEHV HALL 7 — 14. 647

7. Statuette of " Hermes." A male figure standing, con-
cealed by his long cloak, which leaves the r. half of his broad, strongly
projecting chest exposed and quite hides the 1. arm, which is lowered
and only slightly bent. New : greater part of the r. arm with the
purse, also the wings on the heels. [tI/]

8. Statuette of Silvanus, of the usual type (cf Clarac, in.
PI. 44S, SiS). He is holding up his small cloak in the manner of a
bag ; in it are fruits, and in his r. hand he holds the pruning-
knife; beside his r. leg is a dog (head new), [il/]

9. Torso of Apollo, nude, standing with his r. leg somewhat
in advance. On his shoulders are remains of long curls. With his 1.
hand he holds the top of a lyre that is resting against his hip, the r.
arm hangs down. New : head and neck, 1. arm and the lyre, r.
forearm from the elbow, the lower parts of the legs including the
knees, the pedestal. [J/]

10. Statuette of Apollo, nude, sitting. The lower parts of the
legs are somewhat drawn in, tlie r. thigh somewhat raised ; on it
rests the lyre, of which the lower part is preserved. New : all the
upper part of the body from about the navel, and great part of the
lower portion of the r. leg. [J/]

11. Statuette of Artemis, In a chiton girt up short, stepping
forward to the r. The r. leg is supported by a trunk, beside which is
a dog. The goddess is turning her head somewhat towards her r.
shoulder ; with her r. hand she is about to take an arrow from her
quiver. New : both arms. [J/]

12. Small head of Zeus ; the hair rises up from the fore-
head, and a fillet is twined in it Insignificant work. \M]

13. Small bust of Serapis with a kalathos. Nose restored.
No better than no. 12. [jl/]

14. Terminal head of Dionysos, with a pointed beard
which somewhat jjrojects. [.'/^]

For a few Egyptian sculptures and some unimportant vases,
from Lower Italy, cf. Matz, /. at, p. 26.

Rokeby Hall was up to 1769 in the possession of Sir Thomas
Robinson, an enthusiastic dilettante, who was not Thomas Robinson,
First Lord Grantham (ere. 1761), ancestor of the Marquess of Ripon,
but the eldest brother of the first Lord Rokeby. At that time
the master-piece among the antique sculptures there was a large
relief of Niobe, which is said to have come afterwards to Denton

648 ROKEBV HALL IS — 1 7. ROSSIE PRIORY I.

Hall (cf. Denton). If this really is the case, some smaller specimens
mentioned by Volkmann, p. loi, may also be at Denton, viz. :

(15) a small statue of Herakles with the lion's skin ;

(16) busts of Apollo, Diogenes, Vergil, Demosthenes, of
some Roman emperors and their consorts, among which those
of Paulina and Julia are particularly beautiful ;

(17) various other antique statues and busts, and some bas-
reliefs.

ROSSIE PRIORY (Perthshire, Scotland).

Waagen, Ireas., iv. pp. 445 if. Notes and Reminiscences of Rossie
Priory. Dundee, 1877. 410.
The late owner of this castle, who died January, 1878, George,
NINTH Lord Kinnaird, himself compiled the above-cited catalogue
of his art collection, which is considerable. In the section which
refers to the antique sculptures, descriptions made by Edm. Oldfield,
late of the British Museum, have served as a foundation ; all
the specimens are given in photographs. The antiques nearly all
come from Italy, where the author of the catalogue, and his father,
Charles Lord Kinnaird, both hved for some time and themselves set
on foot excavations and made purchases. Since the year 1826 the
collection has been in Rossie Priory. As I have not myself visited
this place, my catalogue is taken exclusively, and in great measure
textually, from Lord Kinnaird's catalogue, which his lordship very
kindly allowed me to use, as well as from its photographs. With
respect to some of the specimens I have asked Prof. Bernoulli's
opinion. I have kept to the numbers of the printed catalogue, but
have refrained from more exact indication of the places in which
they stand.

STATUES AND TORSI, GRAECO-ROMAN.

I. Statue of Narkissos. This statue is exactly like one in
the Villa Rospigliosi {Man. ed Ann. delP Inst., 1856, PI. 21), and like a
fragment in the vestibule of the Villa Borghese, except that the sides
are reversed. The youth is resting on his 1. leg and supporting himself
on his r. arm, so that his r. shoulder toward which his head inclines,
is much raised ; his 1. hand is behind his hip ; a little below it are
attached to his figure two fragments of some object originally held in
that hand. The r. forearm, the 1. leg, the greater part of the r. leg.

ROSSIE PRIORV 2 — 12. 649

and the trunk of the tree covered with drapery at his r. side, were
restored by Canova ; the head, though not belonging to the figure, is
antique, and is well suited to the style of the statue. It is probable
that these statues were intended to stand on the margin of some water,
so that their glance would be directed to its reflecting surface, a con-
ception well adapted for Narkissos. H. 1-07. "Of Parian marble.
The workmanship moderate " (Waagen).

2. Torso of a figure of Herakles, standing on the r.
leg; round the shouklers a lion's skin, tied in a knot on the chest.
Both arms were lowered. Missing : the head, almost the whole of
both arms, three parts of the r., and half the 1. leg. H. ©•69.

3. Fragment of a small draped female figure. Of late
Roman style. H. 0-46.

4. Statue of Eros as a boy, sleeping; head and arms are
lying on a small, sleeping lion. Legs incomplete. L. 0-40.

5. Bust of the youthful Dionysos, wearing a chaplet of
ivy, entwined with vine-leaves and grapes ; across the forehead a
broad diadem passing under the hair. Good work. New : nose,
chin, breast, parts of the crown. H. o'46.

6. Bust of Aphrodite, figure more developed than in the
Medici statue. Much restored (nose, breast, &c.). H. 0-46.

7. Female head (" Persephone ? "), with a kind of cap
round it {opisthospheiidcne). Apparently a portrait. H. 0-35.

8. Female head (" Muse ? "), a narrow fillet ent^vined in
the wavy hair. The head has some connexion with a bust at Madrid
{Memorie deW Inst., 11. PI. 3), but the open mouth does not suit
the rest. It was intended to be let into a draped statue, the 1. arm
of which must have been much raised. Evidently copied from a
very good original. H. 0-33.

9. Small head of Pan, witli very brutish features. Much
mutilated. H. oto.

10. Lower part of a small terminal bust of the bearded
Dionysos, in rosso antico. Good work. H. 013.

11. Double terminal bust, of the bearded Dionysos and
Ariadne, in archaistic style, with ringlets, &c. Defaced; the bust
has been restored. H. 0-33.

12. Small terminal bust of the youthful Herakles,
covered with a lion's skin, and crowned with vine-leaves. Workman-
ship exaggerated. The terminal bust modern. H. 0-28.

C50 ROSSIE PRIORY 1 3 — 22.

13. Bacchic child's head, with wreath of grapes and fillet ;
mouth open. H. 0-20. To judge from the photograph the genuine-
ness is doubtful.

14. Bust of Pan. Fine work, and well preserved; but is it
certainly genuine? H. o'36.

15. Bust of "Isis." Veiled female figure with long curls.
Above the forehead is the remnant of something that may have
belonged to the ornament of her head. H. 0-23.

16. Small bust of Serapis. Of good work. New : modius,
the nose, and the terminal bust with the drapery. H. 0-23.

17. Head of a youth, with very rich curly hair, through which
a fillet is passed, and an enthusiastic expression, reminding one of
Apollo more than of any other personage. The inclination of the head
towards the 1. shoulder suggests Alexander the Great. In the Cata-
logue the head is described as female, "probably intended for Diana."
Good work, but restored (tip of the nose, &c.), and the surface re-
polished ; roughly finished behind. Heroic size. H. 0-51.

18. Double terminal bust, of the bearded Dionysos,
his curled hair bound with intertwining sprays of vine and ivy, and
of Ariadne, with a high wig. Superficial archaism. The work is
exceptional inasmuch as the backs of the heads are wanting altogether,
and little more than two masks, stuck together, can be seen. H.
o'si.

ig. Bust of a young man, wearing a slight mustache, but
no beard; the hair is arranged like that in the busts of Hadrian. Life
size. The mailed bust is new. H. 0-69.

20. Head of "Nero," colossal scale, with a short beard, and
the indication apparendy of a metal diadem formerly bound round
the head, but now lost. The nose and 1. side of the face were
restored by Thorvaldsen. H. o-6i. The tide given above from the
Catalogue is certainly \vrong, and can only be explained by a certain
likeness to other heads which are doubtfully or wrongly attributed
to that Emperor. It appears much more likely that the head is
intended for Caracalla, though his wicked expression is not there;
however it appears really to belong to an earlier period. [-B]

21. Small bust of a middle-aged man, beardless, and with
bald head, probably of the first century after Christ. Tip of nose
restored. H. 0-23.

22. Small bust of a young man, somewhat resembling
Hadrian, with whiskers, but no beard. Good work, and well pre-
served. H. 0-25.

ROSSIi: PRIORY 33 — 32. 651

23. Small bust of a young man, supposed, without suf-
ficient reason, to be Marcus Aurelius at the age of adolescence.
From the photograph one cannot decide whether the bust with
the breastplate and paUidamentum are antique. H. 0-36. [B]

24. Small bust of a boy, smiling. Good, and well preserved.
H. 0-25.

25. Life-sized female bust, the hair simply gathered in a
knot at the back of the head ; the nose and neck restored. Eyeballs
expressed. The arrangement of the hair resembles that of Faustina
the younger ; but the bust is certainly not intended to represent her,
nor in fact any empress. H. 0'46. [i>]

26. Life-sized head, attributed without sufficient reason to
Lucius Varus. H. o'4i. [B]

27. Life-sized head of a boy, the shoulders and breast re-
stored. H. 038.

28. Life-sized female bust, the nose restored. The front
hair is brushed back, a style usual in the time of Crispina. H. 0-41.

[^]

29. Life-sized head of a little girl ; the shoulders re-
stored. H. o'3o.

30. Bust of a boy, somewhat below life-size, with close-cropped
hair, wearing armour and the paludamentum (antique ?). Eyeballs
expressed. Well preserved. In the pedestal is inserted a copper coin
of Diadumenianus, son of the emperor Macrinus. "The features
of the bust so exactly correspond with all the numismatic portraits of
this Imperial child, who was killed at the age of ten, that, not-
withstanding the total absence of that personal beauty which was
so celebrated by Lampridius {An/om'/i. Diad-um. 3), the identity of
the representation cannot be doubted. A bust of this subject is
of the greatest rarity" (Catalogue). The Capitoline bust of the same
subject {Mus. Capit. 11. PI. 62) is certainly rather similar; but both
busts appear to be too old for a boy who only reached ten years of
age. H. 0-43. {E]

31. Life-sized bust of Otacilia Severa, wife of the emperor
Philippus Senior. Nose and shoulders restored. A similar bust is
to be found in the British Museum {Anc. MarbL, x. PI. 14). H.
°-43- IS]

32. Life-sized bust, probably of Marcus Aurelius, when
young. Well executed, and perfectly preserved; very similar to a
bust in the Louvtc (Mongez, Iconcgr. Rom., in. PI. 41, i. 2). H.
0-56. \B\

653 ROSSIE PRIORY 33—50.

33. Life-sized bust of Alexander Severus (not Septimius
Severus). Eyeballs expressed. The head perfectly preserved and
well executed ; the shoulders restored. H. o-66. [£]

MISCELLANEOUS SCULPTURES.

34. Panel on which is sculptured a strainer with a handle, in
shape like a patera. H. o'i5. L. o'23.

35. Mutilated figure of a tortoise looking up, of strangely
unskilful appearance. At the top in the back is a metal plug, it
is conjectured for the fastening of a foot, perhaps of Hermes or of
Aphrodite (?). L. 0-25.

36. Left foot of a female statue. L. 0-23.

37. Two tragic masks, male, bearded ; and female, placed
back to back, like a bifrontal bust ; the female mask much mutilated.

H. 0'20.

38- Bearded mask of a Triton, serving as an ornament of a
spout for carrying off water ; from the cornice of a building. Bold
work. H. 0-23.

39. Framed relief, rounded at the top. In it is Athene,
seen full face ; she is in complete armour, the shield on her 1. arm,
the r., with the lance, raised. H. o'4i. L. o'28.

40. Left hand of a warrior, with part of his shield held by the
strap, and ornamented outside with a winged head of Medusa.
Fragment of a statue. L. o"i5.

41. Fragment of a trapezophoros, with panthers head.
Oriental alabaster. H. o"i3.

42. Bearded head, of noble features, but with no particular
expression. It bears a distant resemblance to the head of Asklepios,
or Zeus, at Holkham, no. 56. The back of the head and great part
of the r. half of the face are missing, the nose is restored. H. o'23.

43. Round urn, ornamented -with masks and branches. Ap-
parently not free from suspicion. H. 0-29.

44. Mask of an old woman, deeply furrowed with wrinkles ;
life-size. With eyes growing dim and mouth open. Apparently
modern. H. 0-25.

45. Flat circular basin ornamented with leaves; the pedestal
restored. Diameter 074.

46. Round urn, ornamented outside with leaves and decorated
on the rim with four rams' heads. The pedestal restored. H. I'oo.

47 — 50. Fragments of pilasters and columns, with vine-
leaves trained over them.

ROSSIE PRIORY 5 I — 72. 653

51. Left hand of a person carrying a basket filled with fruit,
fragment of a life-sized statue.

52. Knee of a Pan. L. 0-42.

RELIEFS.

54. Corner of a sarcophagus, fragment. At the r. end a
bearded male figure with long curly hair, in tunic and pallium and
wearing a sword at his side, tries to escape from an eldedy, bald-
headed male figure, also in tunic and pallium, who with his r. arm
has seized the r. arm of the first figure. The meaning is not clear.
Missing : lower halves of the figures and the continuation at the 1. end.
On the r. side a funeral pyre in low relief H. o'3o. L. 0-30.

55. Left end of the hd of a sarcophagus, broken at the r.
and underneath. Two Erotes are represented ; one of them with a
torch in his 1. arm is employing himself about a stove (?) on which
stands a kettle. H. 0-13. L. 0-27.

56 — 60. Decorative reliefs, in great part decorated with vine-
sprays.

61. Head, resembling Caligula, turned r. Is now on an
oval field. H. 0^30. L. 0-25. Appears suspicious.

62. Male torso, enveloped in an ample cloak, which falls down
in rich folds from his advanced 1. arm ; of the relief field only a small
part is preser\-ed. Of Greek style. H. 0-39.

63. 64. Decorative reliefs. Architectural.

65. Head of a Medusa, mutilated. L. 0-20.

66. Head of a boy, full face; of good work. H. 0-15. L.
0-13.

67. Bearded head, turned to the r. Not free from suspicion.
Oval. H. o'3o. L. o'23.

68. Youth with Phrygian cap and flowing chlamys, pressing
forward r. Arms and legs missing ; broken round the edge. Grace-
ful work. H. 0-51. L. 0-33.

69. Head of Seilenos, crowned with ivy. Fragment. H. 0-15.

L. 0"20.

70. Head of a young Satyr, with ruffled hair. H. 0-20.

L. 0-20.

71. Head of a bearded warrior in a Roman helmet. Very
suspicious. Life-size. H. 0-38. L. 0-25.

72. Fragment of a large relief, belonging apparently to
some public building. Three heads, two with slight whiskers,
one with beard, mustache and whiskers; among the hair are many

654 ROssiK PRiORV 73—82.

traces of the auger, and the heads have hollowed chamfers round
them. On two of the figures the tunic is visible. The art lifelike
but hard, scarcely earlier than the third century a. d. H. o-6i.
L. 0-84.

73. Fragment of an Eros, apparently from a sarcophagus.
H. 0-28. L. 0-25.

74. Female figure reclining, her back exposed, the rest of
her body covered by her cloak. Probably a fragment from a Bac-
chic sarcophagus. H. 0^27. L. o'38.

75. Beardless head, crowned with laurel, apparently a por-
trait from the Hellenistic period, but not free from suspicion. H. 0-33.
L. 0-30.

76. Fragment of a sarcophagus with a representation of the
Seasons. One of the four youths, winged, is preserved, wearing the
chlamys, a basket full of fruit in his r. hand, the attribute of the
1. hand missing. Between his legs lies a panther, near his r. leg
a small Eros runs ; then comes an inverted basket and a large undis-
tinguishable object. H. o'66. L. o'38.

77. Fragment of a sarcophagus. Two boys in cloaks,
running in different directions ; in front of the one running r. part of
a third is visible who carries an ewer in his r. hand. Rough work.
H. 0-32. L. 030.

78. Fragment of a youth, seated facing 1., in a girdled chiton
and a cloak, a sword at his side, long effeminate curls falling down on
his shoulders. In his r. arm is a sceptre, his 1. hand rests on his hip.
Probably intended for Paris, but the genuineness appears doubtful.
H. 028. L. o"32.

79. Fragment of perhaps a later Greek sepulchral relief.
In the field a closed door ; below it a small horse. To the r. the
remains of a comparatively tall male figure. H. o'27. L. 0-21.

80. Fragment of a sarcophagus. A boar attacked by a
dog; above, the foreparts of two horses. H. 0-28. L. 0-28.

81. Fragment with two heads side by side looking 1. One
head is bearded, and wears a round cap, fitting very tight (Jiillats); the
other has no beard, but a fillet in his hair. Good work. Odysseus
and Telemachos have been suggested, but the expression of the
elder face is not appropriate to the character of Odysseus. H. 0-42.
L. 036.

82. Fragment of a historical relief. A chair and foot-
stool are placed on a kind of tribune {suggcstus), and in the chair,
turning r., sits a man in tunic and pallium (head and arms broken

ROSSIF. PRIOUV 83 — 103. 655

oft"). Behind the tribune on the floor stands a beardless attendant
in a short tunic. H. 0-48. L. 0-36.

83. Fragment of a sarcophagus. Columns mth arches over
them. In the arch to the r. stands a bearded man, apparently a
shepherd in tunic and cloak, leaning upon his staff, and looking
to the r. In the arch to the 1. are remains of a Dioskuros with
lance and horse, of the horse only parts of the fore legs are pre-
served. H. 0'23. L. 0-36.

84. Framed relief; a lion seizing a boar that lies on its back
on the ground. H. 0-23. L. 0'43.

85. Architectural relief with foliage.

86. Bearded head, turned 1., with a fillet through the hair.
From the "flowing" character of the beard and of the hair on the
forehead it appears to be intended for Poseidon, but the genuine-
ness of this elegant specimen is very doubtful. H. 0-42. L. 0-36.

87. 88. Architectural fragments with foliage.

RO.M.\N SEPULCHRAL MONUMENTS.

Those monuments which only contain inscriptions are not reckoned
here ; they may be found in their place in C. I. Lat., vol. vl

gi. Sepulchral altar, surmounted in front by a curved pedi-
ment, now broken, on which is sculptured in relief a figure of Mer-
cury, holding a purse in the r. hand and a caduceus in the 1., and
standing between a ram and a tortoise. The inscription runs thus :
D(is) M{anibtcs) \ M. Coccei Crescentis \ vix. ann. il tn{ens). i. d{ieb).
VII I et Cocceiae Aiige c{pniugi) b(ene tner.) | et Cocceiae Auge J\iliae)
diiilcissimae) \ et M. Vlpio Vestali f{ilio) dittkissimd), \ v(ix). a{nn).
xxvnii. m{eiis). vi, | Vesialis Aug{usti) lib{erttis) \ et sibi et suis po-
sterisq{ue) eornm. H. o-8i. L. 0-51.

loi. Square double cinerarium, ornamented with pilasters
and garlands. R. : Dis Manibus | Flaviae Zoe \ Niuerinus eoniugi \
karissimae bene mcrenti, | item sibi et \ Pomponiae Thallusae; below
are birds. L. : et P. Betilieno \ Cureti Carpo et \ Primigenio ; below
is a hare nibbling at some fruits that have fallen from an over-
turned basket. H. 0-25. L. 068.

102. Square cinerarium, with two bulls' heads to which
a garland is fastened; under each head a mask. Inscription : Dh
Manibus \ Seine Helidis \ pater et mater \filiae pilssimae. — On the
lid a basket with leaves at which two birds are pecking. H. 0-23.
I.. 0-30.

656 ROSSIE PRIORV 103, 136.

103. Square cinerarium. On the lid a vase between two
birds. Inscription, enclosed by two cypresses : £>. M. \ ossa Meciliae
Ballnllae Lanuvii \ sac{erdotis), quae in aede lunonis S(pspitae)
M{atris) R(eginae) \ sciitulum et c{l']yp{eu?n) et hast(am) et calc(eos) \
rite novavit voto. (Orelli, 1308.) Said to have come from Civitk
Lavigna (Lanuvium), but the suspicion which Mommsen {Bulhtt.,
1853, p. 173. N. rhein. Miis., ix. p. 456) entertained as to the
genuineness of the inscription is fully confirmed as correct by the
palaeographical character. H. 0-27. L. 0-36.

The Catalogue mentions besides the sculptures we have already
noticed :

136. Fragments of a mosaic floor, " discovered near
Rome in 1822, in a vineyard on Monte Rosario, about half a mile
beyond the Porta Portuensis, on the r. bank of the Tiber. The
centre of the pavement was destroyed; of the portion preserved,
several pieces were obtained by the Duke of Bedford, and are now
at Woburn Abbey [no. 228]; the remainder is in the Rossie collection.
A coloured plate annexed to the Catalogue, copied from a drawing
made at the time by M. Valadier, shows the original arrangement of
the entire pavement." The centre field which is oblong is completely
destroyed ; it is surrounded first by a broad strip with a Triton's head
in each corner, and between the heads, animals in the midst of foliage,
and all on a white ground. Then follows a narrow decorative band
and then a broad meander pattern which encloses square fields.
These are so arranged that one field occurs at each corner (with one
of the four Seasons), and between them four others down the long
sides and three along the shorter sides. The further, outside stripes,
are only ornamental ; towards the inside coloured, towards the edge
only black and white. " The pavement is composed mainly of
marble tesserae, with a few cubes of glass or tile ; it may be re-
ferred to the earlier half of the second century after Christ." The
following fragments with representations of figures, drawn on one
of two coloured plates in the Catalogue, are to be found in Rossie
Priory. I. Of the inner strip : two heads of Tritons, hair and
beard vanishing into sea-plants and a mushroom on the top of the
head ; further a lion with a lizard over it, a stag, two panthers,
one standing and one running, all entwined with foliage. II. Eight
squares of the meander border; two of them belonged to the
opposite corners and each contains a female bust, one of which is
crowned with flowers and the other with corn ears, thus repre-

ROSSIE i'KIOKV 137 — 152. 657

senting Spring and Summer. The other six represent cake with
almonds in an ornamental stand, a red mullet in a plate, a sweet-
meat basket, a roll of bread, a cock with his legs tied together, and
a purse.

Here it may be well to append the following notices of some small
miscellaneous antiiiues, for which I have to thank Mr A. S. Murray,
of tlie British Museum ; the numbers only follow those of the present
catalogue, and do not apply to the collection itself.

137. A very small head, bearded and helraeted. Marble.

138. Another male head, very small; top of head bald. A
portrait. Marble. Minute cameo-like work.

139. Torso of a bronze statuette of Herakles, in fine
condition, and of good workmanship.

140. Several rude bronze statuettes of Herakles.

141. A very rude bronze figure of Athene with a gor-
goneion on the breast.

142. Bronze statuette of Isis ; a foot broken away.

143. Bronze mirror. Two male figures (Dioskuroi ?), nude,
standing flice to face, and each leaning on a spear ; between them a
flower. The drawing is better than it usually is where such subjects
occur on mirrors.

144. Fragments of a large bronze vase with a row of
very rude figures. Etruscan, probably from Corneto.

145. Fragments of bronze armour, from the "Warrior's
Tomb," Corneto. Cf. Mrs Hamilton Ciray, The Sepulchres of
Etniria, p. 529. Annali d. Inst., 1829, pp. 95 ff.

146. A small series of Etruscan bronze fibulae.

147. Bronze stamp : P-CVRTI-P-P-L.

148. 149. Two terra-cotta lamps, probably found in the
Roman Catacombs. One of them shows the Christian monogram.
On the other is a ship with a figure swimming in the water beside it
or after it (Jonah?).

150. A tragic mask, of terracotta.

Tiie following ten numbers are gems and rings :

151. Large onyx cameo. Jupiter in a (jiiadriga hurling
his thunderbolt at two Giants under his horses. Very beautiful work,
but of that kind as to which it is hardly possible to decide whether it
is Roman or Cinquecento ; it may be rather the latter.

152. Onyx cameo. .\ female head, to the r., witli the hair
M. C. A2

658 ROSSIE PRIORY. SALISBURY. SHOBDEN.

plaited and twined in a knot at roots behind. A beautiful frag-
ment.

153. Onyx cameo ; a fragment. Back view of Herakles
wearing a lion's skin.

154. Carnelian intaglio ; female head to the 1. Fine work.

155. Carnelian intaglio with scarab border. On the 1. two
warriors, fully armed, stand before a naked man, who has laid aside
his armour, but holds a sword in his 1. hand by his side.

156. Carnelian intaglio with scarab border; broken. Two
male figures ; one of them on the r. holds up by the back hair a figure
of apparently a nude girl between them, while the male figure on the
1. holds a sword.

157. Carnelian intaglio; broken. A draped female figure
seated to the r. holds some object in her r. hand above her knees ;
her 1. hand draws forward drapery from her breast.

158. Plasma intaglio. Jupiter, seated to the 1., holds out
Victory on his r. hand ; on his 1. hand a cornucopiae. Fine speci-
men.

159. Red jasper intaglio. Andromache holding and address-
ing Hektor ; at their feet the child Astyanax.

160. Small gold ring, with intaglio of a female head to the 1.
Very pretty.

Finally there is

161. A small mural painting from Rome. Bust of a Nymph,
apparently with the head thrown back. Very beautiful.

SALISBURY (Wiltshire).

In the newly-built Blackmore Museum there are, as far as I know,
no Greek or Roman sculptures. Cf. Huebner, Mofiatsbericht d.
Berliner Akademie, 1868, p. 90.

SHOBDEN (Herefordshire).

"A single statue of Mercury was acquired by the late Lord
Bateman, and is now at Shobden. In the opinion of the late Mr
Townley, it is equalled by few statues of that deity of which he had
any knowledge." (Dallaway, 0/ Statuary, p. 356.)

STAXMORE lUI.L I, 2. 659

STAN.MUKK IIII.L (Middlesex).

Mr C. Drury E. Fortnu.m, F.S.A., the author of the vakiable
" Catalogue of the Bronzes in the South Kensington Museum" (1876)
has himself a considerable collection of bronzes in his country house
near Great Stanmore ; many of them belong to the Cinquecento
period. He also has a splendid collection of antique rings, and
among them is the large portrait of Berenike, the consort of the first
Ptolemaeos, graven in gold, which is a great rarity. In 1877 Mr
Fortnum kindly allowed me to look through his bronzes, and
among them the following deserve special mention :

1. Statuette of Aphrodite. Engr. Catalogue of the Col-
lection, ^'C, formed by B. Hertz, 185 1, PI. 2. The goddess, quite
nude, rests on her r. leg; her 1. foot is somewhat drawn back, her
knee bent. Her 1. arm is lowered and held away from the body,
and the hand is opened in such a manner as to suggest that she has
just let something fall to the ground from it. The head with a
graceful curve of the neck also inclines in the same direction; the
hair is simply waved. The r. hand is raised, and holds a small, broad
wreath, woven very closely, and having two ribbons (uVo^i'/ti's). The
expression of the full face is one of maidenly grace, without a trace of
coquettishness ; the pose of the whole figure is very graceful. The
forms of the body are full and voluptuous, and the hips, particularly
when seen from behind, very broad. The 1. foot is not pretty,
lieing much too long, and the upper part of the back is not as
beautiful as the rest. The surface, covered with green patina,
is somewhat corroded, but the contour has not suffered on this
account, and the preservation is faultless. The figure belongs un-
doubtedly to a good period, of Greek, and not of Roman art. H.
0-325. Found at Mogla, near Stratonikeia in Karia; purchased on
the spot with a number of coins by Edw. O'Halley, Esq., for a
mere trifle. In 1846 B. Hertz obtained the bronze for about ^35
(Catal. Hertz, i?>$i, p. 130, no. 19); it attracted notice at the
Manchester Exhibition of 1857. At Hertz' sale, 1859, the present
owner purchased it [Catal. Hertz-Mayer, 1859, no. 150). [*]

2. Statuette of Aphrodite. The position of the legs is
similar to that of no. i. Both arms are held further from the body,
and the upper part of the arms is only a little depressed; the r.
fore-arm is advanced, and the hand turned under and opened
(fingers missing), the 1. bent upward (the hand missing). I do

42—2

66o STAN'MORE IIH.L 3 — 9.

not understand tlie motive of the position of the arms. The head
is inclined slightly in the direction of the r. hand. A tolerably
broad fillet is passed through the hair, which is arranged in curls
on the temples and gathered up into a plait behind. The pretty
little head is particularly well executed, but the body is also very
graceful and on the whole excellently preserved, including the pedestal
with architectural mouldings. H. o'li, with the pedestal o'i25.
Purchased in Florence. [*]

3. Statuette of Aphrodite, nude, and resting on her 1. leg,
her face inclined towards her r. hand. Long curls ; on the hair
a stephane with five knobs on the upper rim. Arms both lowered,
now missing. Roman work. H. o'20. [*]

4. Statuette of Serapis, with the r. foot advanced. A
cloak covers the upper part of his 1. arm and all the lower part of his
body ; his 1. hand is held in front of his body, and in his lowered r.
hand is a fillet. The head somewhat resembles Zeus, and has rough,
curly hair falling about it ; there is a modius on the crown of the
head. Pedestal preserved. Good figure. H. o-ii, with the pedestal
o'i3. From Falerii. [*]

5. Statuette of youthful Herakles, with the lion's skin
across his 1. arm, his 1. hand holding the club which he neither
shoulders nor lowers. The figure is very slim, and points to a type
of a later period than that of Lysippos. H. -o'22. [*]

6. Statuette of a Dioskuros, with the star on his head. His
r. hand lowered in front of his body, his cloak across his 1. arm.
H. o-o8. [*]

7. Statuette of Silvanus, in boots, a goat's skin passed
slantwise across his breast ; he has a pine-wreath pointed like a
crown, from which long ribbons fall down on the shoulders. He
holds out a drinking-horn {rhyton) in his r. hand, made out of a ram's
horn, and in his 1. arm he holds a large knotted club. The expres-
sion of the bearded face is goodnatured, but commonplace. H. 0-12.
Purchased in Florence. [*]

8. Statuette of Priapos (?). A bearded male figure, nude, with
his 1. hand resting on his hip, his r. held before his body, a cloth
wound round his head. It has been injured about the lower part
of the body; there are traces showing that the attribute of Priapos
was once here. H. o'o8; with the pedestal o'o95. [*]

g. Statuette of Commodus on horseback, in tunic and
cloak ; the horse is very small and has crooked legs. An uncommon
kind of statuette. H. o'o5. ["■']

STANMORK IIII.I. 10 — 20. STOURIIF.AD IIOITSK. 66 1

10 — 12. Three Etruscan figures of a warrior or of Mars, his
L arm advanced and his r. placed in a right angle. Enormous plunio
on the helmet ; parts of the armour chiselled out. Very slim pro-
portions; below the feet are pegs for fastening. H. 0-30; o'27;
0-07. [*]

13. Etruscan warrior, stepping to the r., the r. arm
lowered; hehnct witli ijluuie. H. o'22. [*]

14. Bearded figure, with a large, broad nose, scjuatting on tlie
ground, drinking from a cup. [*]

15. Figures of Herakles, Dionysos, a horse. From a
bronze vessel. [■'■]

16. Archaistic Etruscan reliefs, which may have served
as ornaments of a' vessel : two Gorgons, winged, with large boots;
with their knees bent they run one to the r. and the other to the 1.
Bearded Satyr, with goat's legs, large ears, reclining with his 1.
arm supi)orted on a cushion. Mask of the bearded Dionysos,
with a fillet, in grand, severe, hieratic style. [*]

17. Female bust (" Agrippina'), draped, looking somewhat
to the 1. Rounded off underneath, evidently a piece of a medallion
{ciiipciis). (lik bronze. From Falerii. H. o'oS. [*]

18. Terminal figure with a youthful negro head. Pretty.

O-20. [*1

19. A bull. [*]

20. A silver goblet, covered with delicate vine-.sprays ; in
tlie shape of the rounded skyphos. The handles have been lost. [*]

St ANN'S HILL, see p. 211.

STOURHEAD HOUSE (Wiltshire).
Volkmann, Jiciscri, 11. p. 34. Dallaway, p. 384 (11. p. 136).

Dallaway commends very much the following statue found here
In Sir RicH.\RD Hoare's house :

1. "Juno or Ceres, which is not eclipsed liy the Hercules of
Ryssbrack, excellent as it is." I do not know whether this statue
is identical with the following.

2. Flora, standing, from the ^lead collection {Mus. Mead.,
p. 221) which had been purchased for Stourhead (Dallaway, 0/
Slatiiary, p. 314).

662 STRATFIELD SAVE — TUNBRIDGE WELLS.

STRATFIELD SAVE (Hampshire).

The Duke of Wellington has kindly informed me by letter
that on this estate of his, not far from Kings-Clere, there are a few
busts, but I can give no particulars about them. Cf London,
Apsley House.

TRENTHAM HALL (Staffordshire).

This seat near Stockwood on Trent belongs to the Duke of
Sutherland. One of the servants at Stafford House told me that
there were a few antique bas-reliefs here.

TUNBRIDGE WELLS (Kent).

Admiral T. A. B. Spratt, C.B., the much esteemed author of the
Travels in Lycia and the Travels and Researches in Crete, and the
draughtsman of excellent maps, brought home some sculptures after
his long residence in the East. They are kept at Tunbridge Wells,
once a favourite summer residence of the last two Stuarts. Unfor-
tunately time did not permit me to accept the owner's kind invitation
to visit the sculptures. Among them I mention the following :

I. Statuette of Aphrodite in marble, found at Knossos in
Crete. Spratt, Travels in Crete, i. p. 72, with plate (I have also a
larger photograph of it). It is the well-known motive of the
pseliumaie, only in tlie place of the leg ornament (fiXiov) are
substituted sandals which the goddess is loosening. She is just pre-
paring herself for the bath. She stands on her r. foot, which is already
uncovered, and has raised her 1. foot that she may draw off the sandal
with her lowered r. hand. An exceedingly large pitntcllo connects the
toes of the 1. foot with the ground. The 1. hip is leaning on the trunk of
a tree, which is however only made as a material support for the marble
copy ; in the original, which was of bronze, it was wanting certainly,
as the 1. arm was supported on a pillar. The head, which was found
a little afterwards about 200 yards from the statue, is turned sharply
towards the r. shoulder ; a fillet is passed through the wavy
hair. The back of the head and nearly the whole of the 1. arm are
missing ; all the rest is in perfect preservation. The features of the
face are not purely ideal, but have an expression of their own which

TUNI3RIDGE WELLS 2. WARWICK CASTLE I. G63

is coquettish ; the face seems to be somewhat rubbed, and also the
rest of the figure, which when it was found was encrusted with a thick
coating of carbonate of hme, and had to undergo a thorough cleansing.
The proportions on the whole are exaggeratedly slender, the upper
part of the body is too small in comparison with the very powerful
hips. The execution of the back has been commended. H. about
o'6o.

2. Small head of Zeus, from Crete, highly praised by Siiratt,
/. cit., p. 75.

Admiral Spratt possesses some more specimens; others he has
given away, part to the British Museum, and part to Cambridge (cf.
Cambridge, no. 13).

WARWICK CASTLE (W'arwickshire).
Spiker, Rcise, i. 8r. Waagen, Treas., 111. pp. 217 f (11. p. 370).

The chief and superlative ornament of this celebrated old castle
of the Earls of Warwick (family name Greville) stands in a
conservatory :

I. The Warwick-Vase. Tirancsi, Vasi e Candelahri, 11.
PI. 2 — 4. Moses, Vases, PI. 37. Penna, Villa Adriana, iv. PI. 95.
The vase is in the shape of a large krater, the foot having been
added by Piranesi. The lower half of the main body is very much
rounded, and decorated all round the foot with acanthus leaves
and above with a panther's skin. Above this part the vessel is
compressed so as to give the effect of a shelf covered with a skin,
and on this shelf lie on either side four Bacchic masks ; in the centre,
on a separate, low plinth, are Uionysos himself, crowned with ivy,
and the bearded Seilenos ; in front of each is a short thyrsos, laid
slant -wise ; on the 1. and the r. a bearded Satyr-head, the first crowned
with ivy, the second with pine-sprays. On the opposite side, also
on a low plinth, is Dionysos in the centre, bearded, without a
■wTeath, and the bald-headed Seilenos, crowned with ivy; beside
them on the 1. is a pedum, on the r. a thyrsos ; at either end is a
bearded Satyr-head, that on the 1. hand bald-headed and crowned with
ivy, that on the r. hand crowned with pine-leaves. Underneath the
main body of the vase are attached strong handles, which are much
twisted and finally run into delicate vine-sprays, and are so continued
round the uppermost edge of the vessel. The vase, of very fine
marble, is 170 high and has a diameter of 2-11; its capacity is

664 AVARWICK CASTLE. WEXTWORTH CASTLE.

8ih gallons. The work is excellent; the vine-sprays are so fine thai
they seem like the marble copy of a bronze original; it is well
known that the manufacturer Thomason of Birmingham has had the
vase in its original size copied in bronze (see Noehden in Bottiger's
Amalthea, in. p. 418. Clarac, Miis'ee, 11. i, p. 414): one of these
copies is set up at Cambridge, in the space in front of the University
Library. Except some of the masks, which have needed consider-
able repair, it is in good preservation. It was found in 1771 in
Hadrian's Villa by Gavin Hamilton, was purchased from him by Sir
William Hamilton and in 1774 brought to England; it was then
passed on to George, Earl of Warwick. [ f f ']

The other sculptures which Waagen saw in one of the rooms
probably all perished in the great fire of 1871; such is certainly
the case with the following :

2. Oval sarcophagus, with lion's heads, representing Endy-
mion and Selene ; the surface much injured. [/FJ

Besides these, Waagen mentions the following busts :

3. Bust of Herakles, colossal scale, of very noble character
and excellent sculpture. New : nose, beard, and back of the
head. [ W\

4. Bust of Scipio Africanus, above the size of life; very
characteristic, especially the mouth; of fine workmanship. The
nose and ears are new. [ fT]

5. Bust of Augustus, rather colossal, at the age of about
fifty years, beautifully executed in Parian marble. The neck and
hair particularly good. The whole in capital preservation. [ /F]

6. Bust of Trajan, a fine work, of Carrara marble. Nose
and ears restored. [//']

WENTWORTH CASTLE (Yorkshire).
Volkmann, Heisen, iv. pp. 36, 38.
In this seat, now the property of the Vernon-Wentworjh family,
the following statues were to be found towards the close of the last
century, at which time it belonged to Lord SrR.'iFFORD :

1. Apollo, J

2. Egyptian Priestess, I j^^ ^,^^ ^.^„g^j.

3. Bacchus, I

4. Ceres, J

5. Ceres, in the garden, in a clump of trees.

WF.NTWORTII HOrsK. WII.TOX HOUSE. 665

WENTWORTII MOUSE (Yorksliire).

Dallaway, p. 3S5 (11. p. 137). Waagen, Treas., in. p. 337 (11.
p. 430).

The Marquis ok Rockinc;h.\.m, the minister, who as Lord
Malton was the patron of Stuart, possessed here, according to
Dallaway, several statues and busts, of which I only consider worthy
of mention the bust of Antinous from the Mead collection {Miis.
Mead., p. 223. Walpolc's letter to R. Bentley, March 27, 1755.
Dallaway, Of Statuary, p. 314). A splendid cabinet of Roman coins
is also mentioned (Volkmann, Rcisen, iv., p. 30). The castle now
belongs to the E.^rl Fitzwilliam ; Waagen found nothing worth
mentioning except copies from celebrated antiques in the spaces
between the columns of the large hall.

WILTON HOUSE (Wiltshire).
Cary Creed edited in 1731 a series of 70 plates with no printed
title; the copy in the British Museum bears the manuscript title,
" The Marble Antiquities, The Right Hon. the Earl of Pembroke's,
at Wilton, &c." 4to. (The figures are throughout engraved without
the use of a mirror, and therefore in reverse position.) Richard
Cowdrie, A Description of the Pictures, Statues, &c., at Wilton
House, 1751, translated into Italian, Florence, 1754; often repub-
lished, and partly enlarged under the title : James Kennedy, A De-
scription of the Antiquities and Curiosities in Wilton House, Salisbury,
1758, 8vo; an enlarged edition in 4to, 1769, with 25 engravings
(used by me), 1776, 1778, 1779 (probably identical with A ncio
Description of the pictures, c^r., in the Earl of Pembroke's House at
Wilton. Ed. 9. Salisbury, 1779, 8vo.), 1786. ^des Pemhrochiauce :
or a critical account of the statues, bustos, relievos, paintings, medals,
and other antiquities and curiosities at Wilton House. Formed on
the plan of Mr Spence's Polymetis. To which is prefixed. An
Extract of the Rules to judge of the Goodness of a Picture : and
The Science of a Connoisseur in Painting. By Mr Richardson.
London, 1774, 8vo. (Not the whole book but only the introduction
is to be referred to Mr Richardson, the rest is mainly borrowed
from Kennedy; no engravings are appended.) Volkmann, Rcisen i.
pp. 478 ff. W. Gilpin, Observations on the Western Part of England,
1798, pp. 104 fl". Dallaway, pp. 263 ff. (i. pp. 296 ff.). Goadc, Eng-
land, Wales, (5^'c., V. pp. 136 — 150. Spiker, Reisc, 11. pp. 187 ff.,

666 WILTON HOUSE.

200. Waagen, Trcas., in. pp. 142 ff- (n- PP- 272 ff.). Clarac, m.
p. 104. Newton, Notes on the Sculptures at Wilton House, 1849
(printed in the volume of Proceedings at the SaHsbury meeting of
the Archjeological Institute). Co^^^■, Arch. Atiz., 1864, pp. 173 ff.
209 ff. Michaelis, Arch. Zeit., 1874, pp. 62 ff I have examined the
collection myself, in 1873 and 1S77. The following catalogue adheres
to the numbering of the collection itself from i— 179, which Newton
also retains, the remaining numbers I have assigned myself The
numbers not given in my catalogue belong to such modern specimens
as could not deceive a moderately practised glance; many of them,
however, have received attention, if any interest attaches to them.

The collection of antiques in the ancient mansion of Wilton
House, situated close by the little town of Wilton, is the exclusive
work of Thomas Herbert, eighth Earl of Pembroke (1654 —
1732, became Earl 1683), who had already inherited from his
ancestors a fine picture-gallery, including in particular excellent
Vandykes. The Earl travelled much and was well acciuainted with
Italian antiquaries. He was the first collector of importance after
Lord Arundel and King Charles (Introd. § 25). He interested himself,
as Kennedy informs us on the authority of MS. notes by the Earl, in
collecting gems and bronzes, but especially busts and copies from
antiques. As to reliefs, &c., and inscriptions, he only cared for
notable examples. Moreover, he wished only to have objects of the
best period, no mutilated specimens, no duplicates, and above all
no unknown portraits ! How he carried out the last intention we
shall soon see.

The foundation of the collection to all appearance consisted of
the busts which Lord Pembroke purchased from the gallery of
Arundel House, when it was broken up in 1678 (Introd. § 22);
probably also a few of the other marbles came from the same place.
The Arundel Collection, to judge by the remnant of it in Oxford, was
entirely free, or nearly so, from modern specimens : accordingly,
among the Wilton marbles of indisputable antiquity we should expect
to find the specimens purchased from that collection, though we have
no means of identifying them individually. We may call to mind
such heads as nos. 4, 20, 25, 34, 35, 41, 47. S-'C-. =1"^ Greek sepulchral
reliefs such as nos. 17, 109, 125, 152.

A second portion of the antiques was derived from the sale of
a part of the very rich Giustiniani Collection in Rome (probably
the contents of the Villa Giustiniani near the Porta del Popolo, which
were afterwards Incorporated in those of the Villa Borghese), which

WILTON HOUSE. 667

comprised, for example, more than a hundred busts. The choicest of
these were secured by Cardinal Alessandro Albani, who completed
thereby his admirable collection of busts, which was subsequently
purchased for the Capitoline Museum. His fellow-purchaser was
Lord Pembroke ; but in this case also I am not in a position to
indicate individual purchases, which would, perhaps, be made pos-
sible by comparing on the spot the engravings in the Galkria
Giusliniani with the Wilton sculptures.

No doubt the most extensive of all the purchases which the
Earl made was that of a number of marbles of all kinds from the
M.AZARIN Collection in Paris. The statues of this division stood
there, to the disgust of visitors, in the miserable plight to which the
madness of the Due de Mazarin in 1670 had reduced them (Introd.
§ 26), until the close of the seventeenth century. I do not know
the exact date of this purchase : it was probably made in the second
decade of the last century, when the Palais Mazarin was prepared
for John Law's financial enterprises. Cardinal Mazarin, as in all
probability Cardinal Richelieu before him, had set great store by
a splendid adventitious embellishment of his gallery, which was
provided with a superabundance of modern specimens. For the busts
a considerable number of high pedestals of variegated kinds of
marble, artistically inlaid, had been prepared in Rome ; were more-
over all mounted on high, clumsily moulded bases y i^
of identical proportions, the majority of variegated,
several of white marble j finally the heads, which for
the most part had no busts, were furnished with — ' ^ —

splendid draped or mailed busts of alabaster or other kinds of marble
and other stone. Furthermore to each specimen was assigned a
number, which was chiselled in some cases into the bust or statue
itself, in others on the base of the bust, or again on the pedestal.
These numbers are repeated in the inventory which Mazarin had
drawn up in the year 1653 by no less a person than Jean-Baptiste
Colbert, at that time one of his personal attendants: luveiitaire
de tons ks tneiMes du Cardinal Mazarin. Dresse en 1653, et publie
daprh I'original, conserve dans les archives de Co?ide {par Henri
Due d'Auma/e). London, 1861. It comprises 137 statues and
187 busts, while the reliefs are counted in with one or other of
the two classes according to circumstances. A new inventory was
prepared at the Cardinal's death, 1661, increased by about 30 statues
and some 20 busts, and provided, piece by piece, with the estimated
prices, which show the relatively high price of antiques at the period.

668 WILTON HOUSE.

This inventory is unfortunately not printed (ms. Melanges Colbert,
nos. 74 — 79); only the prices are added to the printed copy of the
older inventory. Finally a kind of Catalogue raisonne seems also to
have been made subsequently with a view to the sale, as Kennedy
often avails himself of statements of the Mazarin Catalogue which
are not in the above mentioned inventory. By the aid of this
inventory a large number of the antiques in Wilton House, among
them many of modern origin, can be proved to have come from the
Mazarin Collection ; these include not only busts, but also statues
and reliefs. Five statues (nos. 70, 116, 144, 145, 170) still bear the
Mazarin numbers; others are sufficiently identified by the marks left
by the crazy Duke's hammering ; many more again are to be deter-
mined with more or less certainty by the statements of Kennedy or
the descriptions in the inventory. Altogether there are no fewer
than 23 statues in Wilton House to be indicated with tolerable
certainty as having belonged to the Mazarin Collection, a fact not
without importance as showing that all these antiques were of Italian,
generally of Roman origin. To the same source may be traced seven
reliefs, among which are two large sarcophagus slabs (nos. 61, 163).
Much larger is the number of busts which with their bases and the
costly pedestals were bought by Earl Thomas. Here again many
can be identified by the numbers of the Mazarin collection ; still the
identification is only certain when the numbers are on the busts them-
selves, as the bases and pedestals have in many cases been inter-
changed, and therefore the numbers on them prove at most that
the specimens which bear these numbers in the inventory of the
Mazarin Collection are generally speaking to be found in Wilton
House. Thus, for instance, no. 127 of the following catalogue has on
the bust the Mazarin number 52, on the base 158, on the pedestal 31 ;
and a quantity of interchanges are indicated by the fact that the
description in the inventory applying to the number which the base
or pedestal now bears, often does not suit the bust. At any rate it
can be established with certainty or high probability from these
numbers that no fewer than 83 busts are derived from the Mazarin
collection. In the following catalogue the designation " Maz." is in
all such cases affixed to the numbers of the several articles ; with the
numbers of the Mazarin collection in instances where they are still
recognisable on bust or statue ; with no further mark when the origin
is established from other sources: with a note of interrogation where
its assumption only restf on the peculiarities of the bust, its base or
pedestal.

WII.TON IIOUSK. 669

A comparison of the Mazarin inventory with the nomenclature
adopted in \\'ilton House is well calculated to show the unscrupulous
and arbitrary spirit in which the christening was here undertaken.
Thus no. 5, " Hercule et Prothe'e," is turned into HPAKAE2 and
AXEAfiOS, &:c. However, these are trifles. Far more frequently
busts, which were in the Mazarin collection modestly left with-
out names, have here been endowed with the most arbitrary,
high-sounding names, in most cases ([uite inappropriate, generally
carved on them in Latin letters, more rarely in Greek characters.
In this way it was of course very easy to have "no unknown
portraits." jNIoreover, the wildest fables were invented, to all
appearance so early as to be found in the jis. notes and anecdotes of
Earl Thomas, concerning the nominal origin of various specimens,
especially of Roman antiques from the Mazarin collection or even
of modern pieces {e.g. nos. 48, 99, 144). One of the most remark-
able examples is afforded by the degree of certainty with which
Kleomenes, whose name was made especially popular by the
inscription of the Medici X'cnus, was announced as the author of
four statues (nos. 124, 151, 159, 170) and one modern relief (no.
87); which Winckelmann indeed recognised as a cheat (letters to
Muzel-Stosch, June or July and Oct. 4, 1760. Introd., note ii8.
Cf. An//. Zcit., 1880, p. 17).

A small addition to the busts at Wilton House followed on the sale
of the V.Ai.LKriA Collection in Naples, the sculptures of which
were sold in the year 1720 for iioo ducats to an English doctor, and
again disposed of by him (cf. Justi, Winckelmann, 11. 2, p. 392). On
some of the buyers selling again, owing to the collapse of the "South
Sea" shares, Lord Pembroke came forward as a purchaser (Kennedy,
P- 53)- With the exception of one excellent specimen (no. 94), the
addition was however only composed of modern busts (nos. 46, 192,
i93> 195)- Further, Lord Pembroke obtained a number of sarcophagi
(nos. 60, III, 129, 143, 155), of which on the whole there is rather a
large collection in ^Vilton House, from Henry So.merset, third
Duke of Beaufort, who had shared with the Cardinals Alessandro
Albani and Melchior Polignac the spoils of a columbarium excavated
1 7 26 in the neighbourhood of Rome (Gori, Moniim. libeit. Liriae, p. xx.).
Other specimens came from Sir Axiirf.w Fount.mne (no. 27), or from
John, second Duke of Argyll (no. 78). Lord Pembroke presumably
bought the sarcophagus representing Triptolemos (no. 137) after the
death of the former owner, Eoucault (1721). Unfortunately the
origin of some particularly remarkable specimens is quite unknown.

670 WILTON HOUSE I».

which exhibit spurious but really learned inscriptions, and thus point
to quite a different literary circle from that of Earl Thomas (nos. i, 48).
If, in spite of a tolerably large number of interesting specimens,
some of which are beautiful or important, the connoisseur of to-day
should experience some disappointment on the inspection of the
collection, the blame must be cast on the large number of spurious
pieces, the abominable restorations, and the absurd nomenclature.
For these reasons then, although the marbles are attractively dis-
played in the four galleries of the cloister completed by the
twelfth earl, Robert Henry {d. 1862), under the direction of
Westmacott, the visitor is not unlikely to experience a feeling of
disappointment ; and this all the more since no collection of antiques
in England enjoys such a wide-spread reputation or has evoked so
copious a literature. To be sure, the works of Gary Creed, Cowdrie
and Kennedy are models of untrustvvorthiness and uncritical style.
The remarks of Volkmann, Gilpin, Dallaway (who scarcely does
more than make excerpts from Gilpin), and Spiker are very
meagre; Goede indeed is unfortunate enough to bestow his
enthusiastic laudations of antique art almost exclusively on modern
works, and among the busts he does not find a single example
even of mediocrity ! Waagen's short remarks are better. Wilton
House has, however, a great advantage over all other collections of
antiques in Great Britain in possessing a careful catalogue prepared
more than thirty years ago by Mr Newton, which with one exception
(cf. Battlesden) is the only scientific catalogue hitherto to be found
of any English collection. In it serious attention was paid for the
first time to the archsological hterature of the collection, and also to
the separation of the spurious from the genuine, though still with too
sparing a hand. I have throughout thankfully used Mr Newton's
Catalogue as a foundation for my own, and at times, where my own
notices or other means of assistance did not suffice, I have given his
very words.

ENTRANCE HALL.

This room is decorated with four statues of colossal scale.

i^ Statue of Bonus Eventus. Clarac, in. 438 F,
803 A =v. 970 B, 2501 E. Creed, PI. 24, "Pantheon." The
powerful figure rests on the r. foot, the 1., a little raised, treads on
a snake with a double-pointed end to its tail, its head and neck
being broken off. A wide cloak covers the 1. ami, back, the whole
of the r. leg, and the 1. thigh. In the I. arm (hand missing) the god

WILTON HOUSE l"'— l"". 671

holds a corniicopiae filled with grapes, ears of wheat, pine-cones,
apples, &c., accordingly with emblems of different seasons of the year.
R. arm missing, shoulder somewhat raised. The curly hair, tending
upwards over the forehead and falling down low on the back of the
neck, reminds one of the representations of Helios or of Alexander
the Great ; the features of the face are ideal (new : nose, mouth and
chin). The figure is good, of excellent decorative effect, and quite
unbroken. No restorations except on the face. H. 2*i5. [*J^C1V]

i'». Statue of Apollo. Clarac, iv. 693, 1635 B, "Bacchus."
Creed, PI. 36. The god rests on the r. leg; the body is rather de-
cidedly twisted ; the r. hand rests on the head, the I. arm is lowered.
The slightly inclined head with long curls, with a top-knot {korytiibos)
above the crown, but without any wreath or the like, is re-set, but
without doubt belongs to the statue (new : nose) ; a piece of the r.
hand on the head is also anticjue. New : the rest of the r. hand and
the forearm, the 1. hand, including the wrist, three quarters of the legs,
as well as the stem of a tree with branches and a quiver. The
lowered 1. hand must originally have held the lyre, or bow and quiver ;
had it been supported anywhere, the 1. shoulder must have been more
decidedly raised. The whole motive is little adapted for execution
on so large a scale. Pretty good work, well preserved in the antique
parts. H. about 2-15. [*C;F]

i=. Statue of Herakles. Clarac, v. 801, 2018. Creed, PL
6. Kennedy, PI. 8. The colossal figure has an unusually decided
twist for a Herakles standing in repose ; one might conjecture a sup-
port on his r. side, and with this the somewhat weary expression of
the face would also agree best. New : both amis with their attributes,
the r. entirely, as well as the club, the 1. from above the elbow down-
wards, with the apples in the hand ; also the legs (of different marble
from that of the body), the feet being treated in the style of the
school of Michael Angelo. The bearded head, covered with the lion's
skin, is re-set but antique (except the nose), and belonging to the
figure. Antique also is the skin on the back of Herakles. New, on
the contrar}', and separately inserted, is the knot of the lion's feet tied
before Herakles' breast. Large pieces of marble are inserted in
the face, breast, 1. shoulder, and abdomen. The strong exaggeration
of all the forms of the body, the swelling muscles, &c., rather bring
to mind the Farnese Herakles. H. about 2 -40. [* \V"\

!<•. Statue of the elder Faustina. Clarac, v. 949, 2443 A.
Creed, PI. 26. The motive quite resembles that of the matron from
Herculaneum in Dresden (Clarac, iv. 766, 1889), and is in this

6/2 WILTON HOUSE I.

instance too, owing to its good execution, of excellent effect. The
head, which has never been detached, is a certain likeness of that
empress, and is undamaged with the exception of the nose and
chin ; the hair forms a crown of plaits on the top of the head. The
lowered 1. hand is not hidden in the cloak; it holds a stalk; for the
support of the object of which the stalk formed part, two picntelli are
introduced on the thigh, the lower with a dowel hole ; Bernoulli
conjectures that this object was a cluster of wheat-ears. In excellent
preservation. Greek marble. H. z'oo. [*I)CIV]

CLOISTERS.

I. Round altar: Dionysos and the Horae. This altar
is furnished with architectural mouldings at the top and bottom, and
has afield for a relief with a slight vertical convexity, about o-66 high,
the background of which has been completely chipped away. The
relief originally contained four figures in procession on a continuous
ground of rock. They were placed at the extremities of diagonals
of the altar which intersect at right angles; one of them is however,
as well as large pieces of the rocky ground, completely eflaced.
The other three figures are seriously abraded, but not re-worked.
They stand very far apart from each other, and exhibit the hieratic
style. They recur collectively in very similar treatment on a krater
in Naples (Gerhard, Antike Bihhverke, PI. 13, 2. Gargiulo, Race,
PI. 41, 42, drawn as early as in Cod. Coburg., no. 92 = Cod. Pigh.,
no. 112); their interpretation as Horae, not Maenads, is cer-
tified by this comparison. The first place is occupied by Dionysos
with long hair and beard and a narrow fillet round his head,
in long chiton and a short cloak with zigzag folds girt slantwise
over it ; in the r. hand he holds out a kantharos, in the 1. he
holds straight upright a thyrsos adorned at the top with a fillet.
(This figure also recurs e.xactly on a three-sided pedestal of the Villa
Borghese; of. Bcschreibitiig der Stadt Rom, iii. 3, p. 24r.) Behind
Dionysos a pretty female panther springs up at the thyrsos ; this is
designed with such freedom and softness that it decidedly deviates
from the style of the figures, and seems to be an addition devised to fill
the interval between one figure and another. Then follows the Hora
of Spring, very stiffly designed. A woollen chiton with a broad hem at
the bottom reaches down to the feet, over it another long chiton, over
that again a short cloak girt slantwise, which the Hora extends
before her with both arms like an apron ; what is held in it (flowers?) is
not visible. Over the forehead a stephane. (This same figure appears
on the above-mentioned Borghese pedestal.) Then follows a long

WII.TOX HOUSK I"— 3. 673

blank, originally, it may be presumed, filled by the Hora of Summer
and Autumn, or by a bearded figure in short drapery which recurs on
kmdred monuments (as the krater at Naples, the Borghese pedestal,
cf. Nibby, Moii. scdtidi Villa Borghese, PL 13; a relief in the Louvre, cf.
Clarac, 11. 132, no). The Hora of Winter comes last, characterised
by her complete envelopment in her drapery, even to the back of the
head and both arms ; the loose parts of the corner of her cloak are of
peculiarly stiff style, while in other respects this figure is better than
the others. Italian marble, not transparent, with well-marked black
sjjots and veins. The work, though not delicate, still is better than
much hieratic sculpture of the kind. The altar is finished off at the
top with a low slab, on the outer moulded border of which stands
the inscription (C / 6V., 3S) :

MESnOMpMvii^lONYyON : AhSA OM 0(c 9 Oh" :
^AKXEYTOHA: lAh © OKAI*E/^ Or^

I.e. jxe\Tro>ixiv Aioioicrov ay\a6fi.op(f>ov, jiaK^tVTOfia, ^ai'doKa.prjvov, "Let

US sing the beautiful Dionysos, the reveller, the yellow-haired." The
epithets here bestowed on Dionysos are taken from a latehymn which is
contained in the Anthol. Palat., 9. 524. The characters are scratched
on the surface, rather than carved, with uncertain hand ; the A : H
in the two last words seem to have been written subsequently on
a part of the marble already injured. From a palaeographic point
of view, the strange mixture of characters of different kinds, earlier
and later, is remarkable, as are also the unprecedented shapes of the
letters (for s cf. no. 48), and lastly the clumsy strokes (of the A and
H). All this is so unexampled that its spuriousness is beyond a
doubt ; indeed the forgery is very likely of a modem rather than an
ancient date (cf. Bockh, C. I. Gr. ; Kirchhoff, Studien zur Geschichte
des griech. Alphabets, 3rd ed., p. loi). Cf. below, on no. 48. H.
096. Diameter 0-57. [*C/F]

i"=. Modern urn, of limestone. Apollo, accompanied by
Artemis, is receiving a roll from Nike (the well-known representation
which occurs on the so-called kitharoedic votive reliefs). Behind them
sits Zeus. The inscription DM\ Hor : Flacc: riis : mar: \ pamph :
mm: fafecit is designed to stamp the urn as the cinerary urn of
Horace ! It is, of course, modern, as is the entire urn. [*CJV]

2. (Maz.?) Bust of "Alexander the Great." Modern. [*]

3. (Maz.?) Bust of Antoninus Pius. The nose, lower jaw
and neck restored. New also the mailed bust, of a variegated species
of marble. [*]

M. C. 43

674 WILTON HOUSE 4—".

4. Head of the bearded Dionysos, much broken; on a
modern terminal bust with the inscription Plato. [*^]

5. (Maz.) Group of Herakles fighting with a Giant.
Clarac, v. 790 A, 1994 A, "Hercules and Achelous." Creed, PI.
41. Arch. Zeif., 1881, p. 162. The group exhibits the bearded
Herakles, girt with the lion's skin, with his legs astride as he grips
with his 1. arm a bearded male figure, whose legs end in a snake,
and lifts up the r. arm to deal a blow with the club, while the foe has
both arms tight round Herakles' body. The Mazarin inventory
mentions under no. 43, " Heraile qui presse et estouffe Prothk avec
son bras gauche, levant de la main droite la tnassue pour Passommer,
haut de trois palmes, ou environ" and under no. 44, " Un autre sem-
blable, de mesme posture et de mesme hauteur." In AVilton there is
written on the pedestal, "XVII. HPAKAE2 AXEAQOS". Newton
has rightly observed that the representation does not suit Acheloos.
New : of Herakles the head, both arms, the r. leg, at least from above
the knee to the ankle, the 1. leg from below the knee to the foot, if
indeed both feet are not modern too ; of the foe, mouth and beard,
and at least the greater part of the snakes. Newton regarded as
probably antique the part of the snake on the 1., which is attached to
the r. thigh of Herakles, and perhaps the head of the other snake; still
to me, as to Conze, the genuineness of the whole of the legs seems very
questionable. At any rate Newton's interpretation of the figure as a
snake-legged Giant is probable ; nay, certain, confirmed as it now
is by comparison with a very similar group among the famous reliefs
of the altar of Pergamon, now at Berlin ; this has been well shown
by Furtwaengler {Arch. Zeit., I. cit.). The Giant has pointed ears ;
the features of the face recall more than anything the Borghese and
one of the Capitoline Centaurs. Unfortunately the group is much
broken and disastrously re-worked. H. o'93. [*CrF]

6. (Maz. ?) Bust of Antoninus Pius (according to Ber-
noulli), the forehead encompassed by curls and wreathed with laurel.
Much corroded and restored ; variegated draped bust new. Nomi-
nally Fersius poeta ; Newton thought of Hadrian. [*i)]

7. Head of a bearded Greek, encircled with a broad fillet;
perhaps an idealized portrait. The uninjured head exhibits a strange
kind of superficial treatment of the beard and hair. On the modern
terminal bust the inscription Aristoteles. Bernoulli, Rotn. Ikonogr.ji.
p. 15, points out the likeness of this bust to the portrait of Numa on
Roman coins (cf ibid., Plate of coins i, 5). (Hardly identical with
Inv. Mazarin, no. 82, " Une teste d" Aristote, ayanl une graiide barbe et

WII.TOX HOUSE 8 — 11". 675

un bonnet, avec son bttste sans espaii/les, convert d'une robe et cTun
capuchon de marbre d'Egypte, stir <:vt pied de mesme marbre, tout d'une

8. (^[a/. ?) Statue of a sleeping Nymph. Clarac, iv. 750,
1829 C. Creed, PI. ^3. Attitude and drapery correspond entirely
to the famous statue of Ariadne or " Cleopatra" in the Vatican (A/us.
Pio-Clevi., II. PI. 44); the waves on the plinth however seem to indi-
cate a Nymph, and the statue may have been meant to be placed on
the margin of water. The 1. breast is exposed. On the rock on
which she lies appears a lizard, a bird eating a small snake, a snail,
a stork biting the tail of a lizard. Restored : only the fingers of the
r. hand. Very decorative sculpture. L. 0-83. [* W'\

9. (Maz. ?) Head of Nero with indented crown. Kennedy,
PI. 6. Modern copy of the basalt head in Florence, Uffizi, no. 65.

ID. (Maz. ?) Female draped figure. Clarac, in. 538 B,
1122 B, "Muse." Akin in all respects to the Vatican "Nemesis"
(Mus. Pio-Clem. 11. PI. 13. Clarac, iv. 759, 1854) and a Giustiniani
statue (Clarac, iv. 773, 1925). She is stepping slightly forward with
the 1. foot. Her chiton is ungirdled, and she is raising its upper fold
with her 1. hand. Drapery, of Greek style, simple and pretty. R.
arm lowered. Restored : head with stephan^, neck, both arms from
above the elbow downwards, with the flute in the r. hand, and a piece
of the corner of the drapery near the I. hand. Good decorative work,
confining itself to the most important points. Thasian marble. H.
I •10. Cf Inv. Maz., no. 57, " Une femme en habit sacerdotal, avec un
diademe sur la teste, soustcnant son habit de la main ;:^auche, haute de six
palmes, on environ." [*]

II. (Maz.?) Bust of " Didius Julianus," according to
Bernoulli probably of Marcus Aurelius, badly restored. New :
nose, mouth, beard, variegated draped bust. [*j9]

11^ Head of " Libera." Modern.

ii"*. (Maz.?) High relief : two portrait heads, opposite to
each other, nominally M. Aurelius and Faustina, which nomenclature
is erroneous, but it may express the intention of the artist, who was to
all appearance modern. Inv. Maz., no. 115, " Une mcdailk de marbre
blanc, avec deux testes en profit qui se regardent, une de Marc Aurelle
et r autre de Faust ine, enchassee d'une bordure de marbre gris."
[*B]

ii"=. Female head, bound with diadem, called '' Phaedra. "
The face restored.

43—2

6/6 WILTON HOUSE 12 — 1 7.

12. (Maz. ?) Bust of " Messalina." Head and bust
modern. [*-B]

I2^ Female bust, shoulders draped; perhaps Diana.

13. Male torso, of an athlete rather than of a Hermes, named
on the pedestal " Ajifinous." Clarac, v. 953, 2446 A, " Marc-Aurele."
Creed, PI. 27. The torso exhibits the flowing position of the Bel-
vedere Hermes, and the restorer has also caused the hand to rest on
the hip. New : head, both arms, both legs from the abdomen. H.
abt. 2 -06. [*BIV]

IS"" (over the Library door). Relief of Vesta. Fabretti,
De cohinma Trai., p. 339. Montfaucon, Ant. expl.,\. PL 27, i. On
a chair with a high back sits Vesta, draped with chiton and cloak,
which latter veils the back of the head ; over the brow a stephane.
On her 1. arm she holds a sceptre, in the r. hand a cup, out of which
a snake drinks, raising itself from a cista under Vesta's chair (cf.
Preuner, Hestia-Vata, p. 242). The cista is high and round; ears
of wheat hang down over the edge, and on the top lies a round
loaf of bread of the form known from Pompeii and otherwise.
Below, the inscription : Vestae sacrum \ C. Pupius Firminns et \ Muia-
sena Trophime (C. I. Lat., vi. i, 787). This Firminus was in the
year a. d. 140 under Antoninus Pius, quaestor of the guild of bakers,
corpus pistorum {ibid., no. 1002); presumably he is the person who
dedicated also a relief to Aesculapius and Hygia {numinibus Sanctis,
ibid., no. 546, cf. Aldroandi, Statue di Roma, 1556, p. 194). Our
relief was found not much before 1690 a little below the Villa
Mattei. [*]

14. (Maz. ?) Torso restored as Hermes. Clarac, iv. 660,
1 51 7 A. Creed, PI. 28. Antique: only the rather beautiful torso down
to about a third of the thighs, and the shoulders (both arms lowered).
H. abt. 2-o6. Inv. Maz., no. 66, " Mercure nud, uti casque aisle a sa
teste, tenant son caducee de la main gauche et (i F autre une bourse, haut
de cinq pal?nes." [*]

15. (Maz. ?) Bust of a bearded Greek, on the bust the
inscription Anacreon. Modern. [*/?]

16. (Maz.?) Bust of "Asinius PoUio." Modern copy of
the so-called Aratos in Naples. [*i?]

17. Greek sepulchral relief Two pillars support an archi-
trave ; the r. upper corner broken off. On the r. two men lying on
a couch, beardless, nude above, with cloak over legs ; the face of the
one to the r. destroyed: long fillets hang down on the shoulders.
This one holds in the r. hand a flat plate ; the other extends his

wii.Tox HOUSE 20—24. ^77

r. hand towards the food which lies on a low table. On the r. by
the table a krater stands on the ground ; by it a diminutive attendant
looking up at his master, and holding an ewer in the r. hand. To
the 1. of the couch an altar with burning flame ; a boy in a sacrificial
apron holding on the 1. hand the flat basket {komovv) leads up a
fleecy ram which is to be offered to the deceased in their character
of heroes (ai^i/pojio-^eVTe). Round the altar three female figures
approach, the first with a wreath or twisted fillet in her hands, the
second with the r. hand raised in supplication, the third with her
hand in her drapery. Lastly a female attendant, recognisable by the
hood ()C€Kpu<^aXos), with a cup in her r. hand, a large round box
(ki/J(otos) on her head. Commonplace style of about the third
century B.C. Greek marble. H. o'36. L. 0-53. [*C']

20. Bust of Metrodoros. New: nose, bust of gray marble
with the inscription Aristophanes. \^BC\

21. Statuette of a boy running. Clarac, v. 878, 2237 A.
Creed, PI. 55. A boy hastening forwards, the 1. leg in advance, with
the upper part of the figure strongly inclined forwards ; the r. arm
raised, the 1. lowered, both somewhat bent. The figure somewhat
reminds us of the bronze figures from Herculaneum, in Naples
(Clarac, V. 860, 2196 B; 863,2i96A); cf alsoJ/wj. Chiarani.,\\\.V\.
37. The elegant curly head, with an expression of great suspense,
seems to belong to the figure ; the sunk pupils enhance the effect.
New : the 1. forearm, r. arm, and the feet ; the figure is moreover
broken in several places. H. 0-56. [*]

22. (Maz.) Statuette of a boy. Clarac, v. 878, 2237 C. Creed,
PI. 56. He stands in a quiet attitude, upper parts of both arms
lowered. Obliquely across the breast from the r. shoulder runs a
string with small amulets, one little square plate, one heart-shaped,
one triangular, one ring-shaped, one in the form of a small rectangle.
The figure much mutilated. New : neck, arms with the deeply
hollowed cymbals in the hands, and perhaps the entire legs, possibly
except the 1. thigh ; the curly head antique but not belonging to the
figure. H. o'68. Inv. Maz., no. 104, " Un en/ant nud, tenant deux
gobeletz entre ses mains, haul de trois pahnes, ou environ.^' [*]

24. (Maz.?) Bust of " Coriolanus." A Roman with scanty
beard and hair coming down on the forehead like a wig, even more
than is the case with portraits of Hadrian. Eyes staring, the corners of
the mouth drawn back, the expression stupid. Head much defaced
and of very doubtful genuineness. The bust certainly modern.

678 WILTON HOUSE 25—29.

25. Bust of Antonia, The profile rather sharper and the
plait somewhat thicker than in the bust in London, Lansdowne
House, no. 46. A ribbon runs through the hair. New : nose.
Much polished. Of this pretty head there is a replica in the
Louvre. [*£]

27. Mosaic relief: Herakles and a Hesperid. Kennedy,
PI. 7. This specimen is an imitation of the antique fragment of a
marble relief in the Villa Albani (Zoega, Bassiril., PI. 64. Braun,
Zwolf Basrelkfs, PI. 11), which has subsequently been restored by
the addition of another Hesperid, of which a slight trace had been
preserved behind Herakles' back ; there are early drawings of the
antique portion in Cod. Coburg., no. 23 Matz = Cod. Pigh., no. 39
Jahn (copied in Beger's Hercules ethnko}-um, PI. 12), and in Windsor,
Vol. II. fol. 45. The field of the relief is blue, the ground at the feet
of the figures whitish, below that a bright greenish blue, quite at the
bottom a brownish blue. On a blackish rock sits Herakles, facing r.,a
golden fillet in his hair ; club and chlamys brown, as also the tree, up
which a greenish blue snake coils itself; on it hang four golden apples.
The Hesperid who stands opposite Herakles wears a greenish blue
head-cloth and under-garment, over the latter a reddish brown cloak,
lastly a golden fillet in the hair ; the three apples on the twig she
holds are also golden. R. and 1. rather large portions of the field are
fairly free. The same scene with the same technical treatment, the
figures raised from the field in relief, recurs both in Madrid and in
Vienna. As to the source whence our example was derived, the
books on Wilton say nothing; the statement made by Spiker and
Waagen, that it came from the Arundel Collection, rests perhaps on
some misunderstanding. According to Winckelmann ( IVerke, in.
p. xxxiii), it came to Wilton House through Sir Andrew Fountaine,
to whose friendship for Earl Thomas two busts of Sir Andrew, in
Wilton, bear witness, one by Hoare, the other by Roubillac. Waagen
and Conze do not doubt the genuineness of the specimen ; Newton
more prudendy regards it as " perhaps antique." After the thorough
disquisition of R. Engelmann {Rhein. Mm., xxix. pp. 561 — 589) it
can no longer be doubted that mosaic relief is an invention of the
last century only, and that all known examples are impostures forged
at that period. Again the style of the setting of the several stones,
so that broad white seams of cement are to be seen between them,
is not antique. H. 0-41. L. 0-33. ^CW\

29. (Maz. ?) Bust of an elderly Roman, with short-cut
hair and beard, of a late period; certainly not '^ Fompcius." The

Wll.TON HOUSK 30—35. 679

genuineness is not quite free from doubt. Much battered. Draped
bust modern. [*-i>]

30. (Maz. 55) Bust of Julia Mammaea, or a person very
like her, nearly akin to the bust in Mongez, Jconogr. roinaine, PI. 52,
only that the hair behind is set up in a broad flat plait. The eye-
brows almost meet. The head is turned r. New : nose. Very
good head. Named Caesonia in Wilton House. Inv. Maz., no.
55) ^'Um teste de fern me, avec son buste habille ([line chemize et d^ une
drapperie...de marbre blattc." \^B\V'\

31. (Maz.) Relief. Creed, PI. 9. On a modern field there is
set a horseman turned r., in high relief, completely detached from
the ground. He wears hose and a cloak; obviously a barbarian;
with this the curious details of the costume and the horse-trappings
agree. New : of the horseman, the head and the 1. leg; of the horse,
the 1. fore-leg and the hind quarters. Late sculpture; scarcely earlier
than the second half of the second century b.c. H. 0-65. L. 0-54.
Inv. Maz., p. 367, no. 121, " Ui) bas relief de marbre blanc reprcsentant
Marc-Aurelle a cheval, rapporte stir un foitds d'ardoise, haiit de deux
palmes et demie, on environ." Kennedy tells the following story on
this (p. 57), in which he was partly anticipated by Creed, and which
probably goes back to Lord Pembroke himself " Equestrian Statue
of Marcus Aurelius, made at Athens and so esteemed, that the
Sculptor was sent for to Rome to make that, which is there in
Copper, as big as the Life.... To prevent the breaking. Card. Mazarin
had one side cemented to a marble &c." [*]

32. Relief of a heroine beloved by Zeus. On the r. sits
a female figure on a rock, nude above, draped below, laying her
r. hand on the neck of Zeus, who sits by her, similarly half covered.
Zeus holds the thunderbolt in his r. hand ; his r. foot is restored.
Before him stands an altar of incense (thymiaterion), at which a
female figure is offering. Below her is scratched in ANAX. Pretty,
but no doubt modern. [*d/]

33. Relief. A bull led to sacrifice by the popa, and another
figure, both wreathed. From the triangle on tlie horns of the bull
hangs the sacrificial fillet (inftdd).

34. Double terminal head. Two Bacchic female heads,
one with a fillet, the other has rows of curls over the forehead, and
the hair braided. Noses broken, the rest in good condition. ["•■']

35. Double terminal head : Aristophanes and Me-
nandros, here called lanus et uxor. Replica of the double head
in Bonn {Mon. deW Inst., v. 55. Welcker, Altc Deiikiii., v. PI. 3.

680 WILTON HOUSE 36—48.

Kekuld, Kuhstmiisewn in Bonn, PI. 2, i); there is another replica
in Naples {Museo Iwrbon., vi. PI. 43. Monum. ed Annali, 1854, PI. 7).
Aristophanes, bearded and not bald, is distinguished by the fillet ;
Menandros beardless, with wrinkled forehead. The tips of both
the noses are broken off. Coarse work. H. 02 7. L. of face
o-i6. {*B]

36. Male double terminal head : a head like Seilenos,
with a beard which ends in leaves; the other head youthful.
Modern. ['".5]

39. (Maz.?) Head of " Philemon," somewhat like Sokrates.
Modern. [*B]

40. (Maz. }) Bust of " Matidia," which nomenclature is cer-
tainly incorrect, the head-dress is however that of her time ; above, a
high knot {korymlws), behind, a structure of plaits like a nest. Good
head, neck and head in complete preservation. [*^]

41. Double terminal bust of Dionysos, bearded, and
both heads with stephane, no wreath. Creed, PL 5 2. The shaft
modern. H. 0-27. [*]

42. (Maz. ?) Small bust of Vitellius, rather than Titus as
the inscription says. Seems to be modern. [*i?]

43. (Maz. ?) Small female Bacchic head, crowned with
ivy, and with a fillet round the forehead. New : drapery. [*]

46 (Valletta). Bust of Homer, of the type of the Naples
head (Tischbein, Homer nach Antiken, PI. i). Beneath the fillet
remains of hair fall from the otherwise bald crown on to the forehead.
New : nose, 1. side of head from nose backwards, the whole of the
back of the head, the bust; much battered besides. This very coarse
copy still preserves traces of the effective, picturesque treatment of
the original. On its derivation from the Valletta Collection, cf Ken-
nedy, p. 53, who boldly asserts that " the Emperor Constantine got
the Homer from Smyrna." [*-5]

47. Small head of a girl, named " Annia Faustina," without
warrant. The wavy hair is brushed back in several divisions which
lie over each other, and is taken up behind like a bandeau. Pupils
expressed. Pretty httle head. The only new part is the nose.
i*B]

48. Votive relief to Zeus. Muratori, T/ies. Insa:, i. Plate
facing p. 35 (Bimard de la Bastie). Engraving by Tho. Langley, 1 746.
Bottiger's Amalthca, in. PI. 4 (K. O. Miiller). Muller-Wieseler, 11.
I, 9. Annali, 1874, PI. P, p. 184 (Matz); this last drawing too
gives no true representation of the style, which it makes appear much

WILTON MOUSE
too coarse. See annexed woodcut :

Ca^JL^li^^N^. VW.k^^ ^1

On the 1. there is seated (whether the seat originally had a back or
not is uncertain, as the 1. border of the relief is broken off) Zeus,
his r. hand supported on the seat, and holding an eagle on the
advanced 1. hand, as is so often seen on coins. The eagle's
head is re-worked, the very sharp bend of the beak is still plainly
recognisable. A cloak covers the 1. shoulder of Zeus with the
upper part of the arm, the back, stomach and legs. A fillet
traverses the hair, which is in part brought over it. The beard is
of an unusually clumsy shape, as also are the profile and the mouth;
the bad shape of the eye is due only to retouching, the inner corner
being still recognisable in its original position. The feet with soles
under them are drawn back somewhat awkwardly, and only touch
the ground with the toes, which are extraordinarily long and much
twisted. Before Zeus stands an altar for incense (thymiaterion), on
a three-sided pedestal supported on three feet, with several cups over
it. On the other side of it, on a high tripod with strangely bent legs,
is a cauldron (Icbes) into which a youth dips both his hands from the r.
He is of very powerful forms, especially in the profile of his back. His
legs are wide apart, the r. advanced ; the head is much bent fonvard.
The shape of the head is unusually high ; the profile again is coarse,

682 WILTON HOUSE 48.

especially the clumsy nose, the eye on the other hand is delicately cut.
The ear stands very far back, the upper lip is short, the chin round
but not very projecting, the hair only slightly rendered. The whole
scene is kept in unusually low relief, and is moreover much rubbed ;
perhaps in consequence of this many alterations have been in-
troduced, e.g. in the eye of the Zeus, also in the breast and body
of the same figure, in which the sausage-like muscles and the
wretchedly treated margin of the ribs have been manifestly made
prominent by paring the adjacent parts ; perhaps this also accounts
for the absence of the youth's pudenda. This re-working, which
however has not disturbed the external outlines, is certainly of
ancient date; for not only is the grayish, transparent tone of the
marble unaltered by it, but also the yellowish rust of oxydation,
which has developed in the course of time, is in almost all parts
equally distributed over the surface. Entirely different is the case
with the modern re-working, by which the outHnes have been in
several places retraced with a sharp instrument, and consequently
are here and there defaced ; all these Hnes are as white as sugar.
After all these re-workings are abstracted, I do not hesitate to agree
with Conze in referring the relief to the fifth century B.C., as Matz
too thought when he first examined the original {Arch. Zeit., 1873,
p. 30) ; and to some district of Greece which still lay under the
influence of archaic art. The view of Miiller, Newton, and Waagen,
which was subsequently adopted by Matz after study of an unsatis-
factory drawing {Anna/i, 1874, pp. 184 ff.), that the relief is an
antique artificial imitation of really archaic art is in my opinion
decidedly erroneous. The youth is angular, but excellent of his kind;
the 1. shoulder for example is absolutely distinguished ; he recalls in
stylistic feeling throughout the youths forming the handles of two
bronze mirrors of Aegina and Sicily (Finder, Fi'mfkampf, Plate.
Gazette archeoL, 1875, PI. 35). The long twisted toes of these youths
recur in our specimen on the feet of the Zeus; his ungainly seat again
recurs in the Athenb (so-called Nymph) of a metope from Olympia
(Miiller-Wieseler, i. 30, 129); the wave-like, rounded, parallel folds
of the cloak on Zeus' lap in a certainly archaic female torso in Athens
(Lebas, Voyage arch'coL, Mon. fig, PL 3, 2). On the Zeus again
sundry details are excellently modelled, and show how effective the
whole was originally. The altar for incense too is very well designed.
That the character of the relief is originally archaic seems to me as
certain as that it is not Attic; the whole feeling for form is un- Attic.
The marble again is certainly not Pentelic, but apparently Parian of

WILTOX IIOUSK 49. 683

extremely fine grain, probably lychnites. The whole seems rather to
indicate Doric art. Were not Kennedy so absolutely untrustworthy
an authority, one might give credit to his statement that the relief
"was brought out of Peloponnesus" (p. xxvi) ; only the addition
"where it was most probably made for a Victor in the Olympic
games" shows the origin of the combination, the inscription which
is set between the eagle and the youth (C /. Gr. 34) :

MA/^0pO^:AIOOY:fY

;n ^:i i^: i^T<isiA,x
NiKpi : ppnt^ohoy:

I.e. Mav^Eos \Wov ei)(apL(TTii Au inX viktjl irevTadKov TraiSo's. This
inscription, since Maffei's discussion {A/its. Veron., p. ccccx) often
condemned, by others defended, either as original (Miiller), or as an
antique artificial imitation of an earlier inscription (Newton, Matz), is,
according to my judgment, which coincides with Conze's, decidedly
modern. The letters, scratched on waveringly by an uncertain hand,
are white as sugar, and that too not owing to a modern re-working,
as has been assumed, but ever since their first execution. Repeated
careful examination, also after Matz's second memoir had appeared,
has convinced me that there is nowhere the slightest trace of an earlier
writing to be discovered under the white lines of the letters, while
under the outlines of the figures which are re-traced by such white
lines, the original lines can almost universally be traced. In fact,
the similar confusion of styles which characterises the whole palaeo-
graphy, the recurrence of H for A and the acute-angled \, the twisted
stroke in the X, &c., throughout confirm Boeckh's conjecture that
tliis inscription is to be assigned to the same learned forger as is
that of no. i. The forgery was unquestionably not originated in
Wilton House (the Greek inscriptions by Earl Thomas are in another
style!), but is undoubtedly earlier. Both specimens, nos. i and 48,
must accordingly have come to ^^'ilton by the same route. H. o't,().
L. 0-52. [*CMW]

49. Middle piece of the front of a sarcophagus, similar
to, but not identical with, Gori, Monum. libat. Liziac, PI. 6. The
three Graces in the usual arrangement ; the one on the r. holds in her
1. hand a twisted wreath of flowers (uVofiu/xt's), the identical attribute
in the r. hand of the figure on the 1. is restored. On either side a
support (vn-ocndnys) in the shape of a tuba set on the ground, on

684 WILTON HOUSE 50— 6o.

which lies a drapery. In the upper part of the field on each side an
Eros, both supporting a garland which hangs down behind the Graces.
New : of the Graces, the feet, parts of legs and bodies ; of the Eros
on the 1. only the left foot is antique. H. 0-38. L. 0-35. [M]

50. Pine-cone, and foliage in relief; from a larger composition.

51. (Maz. ?) Bust of an athlete, with crisp hair, here
christened Dolabella. Very insignificant. [*-5]

52. Torso of a boy. Clarac, v. 878, 2237 B. Creed, PI. 57.
Antique : only the torso, half the advanced 1. thigh, a third of the
drawn-back r. thigh. The 1. arm was lowered, the r. raised. The
restorer has given the r. hand an apple or sphere. The curly head
seems not to belong to the figure, but this is not certain. H. 076. [*]

53. Statuette of a youthful Satyr. Clarac, iv. 724, 167 1 F.
Creed, PI. 58. The Satyr stands with the 1. elbow leant on the stem
of a tree, which is overgrown by a vine. He looks up at a bunch of
grapes, which he holds up in the r. hand. The slightly bent 1. leg only
rests on the toes of the foot, as in Michel Angelo's Bacchus and similar
figures of his school. The r. arm has been broken oft", but is re-set.
The whole piece is of the same marble. The Satyr is much polished,
the tree and vine very dry. In my opinion the whole figure is
modern. H. 0-83. [*]

55. (Maz. ?) Bust of Vitellius. Modern. Cf Inv. Maz.,
no. 80, " Une teste de I'Empereur Vitelle, avec son buste arm'e, tin
manteau siir VespauUe gauche et iin tnasgue siir la poitrine, le tout de
marbre blafic.'"

56. Statuette of a Roman, with the inscrii)tion M.
Antonius. Clarac, v. 921, 2345. Creed, PI. 61. Kennedy, PI. 9.
A man, merely draped in the pallium, which leaves the breast free,
with his 1. arm akimbo and hidden in the drapery, steps forward some-
what with the 1. leg. By the 1. foot on the ground there lies a dolphin,
under which some water is to be seen. New : the Agrippa-like head
and the raised r. arm. Pretty figure, with a free pose and a good flow
of folds ; sculpture good and fresh, but not delicate. H. i'o5. [*.S]

57. Bust of a woman, inscribed Porcia. Modern. \B'\

58. Bust of a man, wrongly named M. Aurelius. Modern. \B'\

59. Fragment of a relief. A boy, his head and shoulders
hidden in a large mask of Seilenos, walks r., stretching his hand
through the opened mouth of the mask and stealing fruit from an
altar which is entwined by a wreath. For similar pranks cf. O. Jahn
in the Allgem. Monatsschrift fiir Litcratur, 1853, pp. 537 ff. [*J

60. Sarcophagus. Gori, Collib. Liviae, PI. 10 A. Ghezzi,

WII.TON HOUSE 6\. 685

Camere sepolcr. d^ hberti di Livia Aug,, PL 8, F. Piranesi, Aiitich.
Rom., III. PI. 27, J. In the central field two Corinthian columns
support a pediment, the field whereof is adorned with a wreath ;
on the r. and the 1. a palmetto ornament as akroterion, and on each
slope of the roof a hippocampus. Below the pediment the doors of
the grave, one fold of which is half open. Both folds have on
the upper part a gorgoneion, on the lower a lion's head, as symbols
to avert evil. On either side a large fluted field, at each end a
Corinthian column. On each side a griffin. I.. 2-16. H. o-68.
D. 0-59. The sarcophagus conies from the Columbarium dis-
covered on the Via Appia before the Porta San Scbastiano in 1726 ;
of. nos. Ill, 129, 143, 155. [*J/]

61. (Maz. ?) Front of a sarcophagus : adventures of
Meleagros. The representation comprises three intrinsically con-
nected scenes, proceeding from 1. to r., intrinsically connected.
First Scene: the fight with the sons of Thestios. On the ex-
treme 1. a tree, entwined by a snake (upper and lower corners
restored). Next stands Meleagros with drawn sword (r. hand and
half the sword new), in the 1. the boar's skin, which has slipped on
to the ground. Meleagros sets his r. foot on the body of one of
his uncles, which is stretched on the ground, whose 1. hand has still
hold of the skin ; a second, bearded Thestiad, with a small cloak and
a spear (? upper end restored), draws his sword and presses on
Meleagros. In the background a younger companion of Meleagros
with chlamys and spear.— Second Scene : Althaea at the altar.
Althaea, mother of Meleagros, stands in most violent movement, with
fluttering chiton and cloak, throwing the fateful brand into the
flame of the altar, while she turns away her face in horror and makes
a deprecatory motion with her 1. hand. An Erinys, who touches her
on the shoulder, stands behind the altar with brandished torch, in
girdled chiton, with fluttering hair. Between the two in the back-
ground the Moira with the roll of fate in her hand. — Third Scene :
death of Meleagros. On the couch, which stands on a high, decorated
basis, lies the dead Meleagros at full length, his stomach, hands, and
legs covered with a cloth. By him stands, grieving, the aged Oineus,
bearded, in cloak and shoes, supported on a knobbed stick; he sets
the 1. foot on the above-mentioned basis. Leaning against this stands
on the 1. a large, round shield, ornamented with the gorgoneion in the
middle of a design of leaves and with sprays on the border; on the
basis further to the r. a helmet, then a sword, then an ewer. Behind
the couch are three figures of mourners with the upper part of their

686 WILTON HOUSE 62—66.

bodies visible : the old nurse, with dishevelled hair, both arms thrown
back with most excited movement; a younger female, perhaps a
sister of the deceased, weeping, raising the 1. hand hidden in the
drapery toward her face; lastly the paedagogos, who perhaps was
originally placing the obolos in the mouth of the dead hero (cf. Zoega,
Bassir., PI. 46). At the head end of the couch stands Atalante,
in short hunting costume, turned away, her head mournfully sup-
ported on her r. hand (new : r. forearm); by her a dog looking up at
her. On the extreme r. an arched doorway. The sarcophagus is of
ordinary work, in excellent preservation. An early drawing, from the
Dal Pozzo Collection, is in the possession of Mr Franks in London,
another is in the Cod. Coburg., no. 222 Matz. L. 2'i5. Inv. Maz.,
no. 125, "Un autre has relief, phis petit [than no. 163], represejitant
la mart de Miieagre et diverses fij^tn-es." [*CMJV]

62. A crouching Seilenos. Clarac, iv. 730 A, 1755 D
(bad). The plump Seilenos has seated himself on the ground, with
both knees drawn up, and raising with both hands a high, richly
ornamented kantharos to his mouth. His longing to drink can be
discerned in his bloated face. His drapery consists of anaxyridcs,
a close-fitting dress which even covers the arms to the wrist, and the
legs; of this only a little is visible (the r. knee, lower part of 1. leg,
and a piece of both arms), as the whole figure is enveloped in a lion's
or panther's skin, the jaws of which show their teeth over Seilenos'
forehead; below, a thick fillet goes round the forehead. The effect
of the whole figure is strange and comic. New : only the 1. foot.
Coarse Greek marble. Clumsy workmanship. H. 0-39. [* f f^]

63. (Maz. 133) Bust of a beardless Roman, called "Vibius
Volutianus." The mouth projects strongly; beard and moustaches
weak. Pupils expressed. New : tip of nose. Certainly antique. Inv.
Maz., no. 133, "U/ie teste de marbre Mane, sa/is buste." \^B\

64. (Maz. ?) Small head of Artemis, with a fillet passing
through the wavy hair, which is brushed off the face; in the middle
of the fillet a hole for the crescent. Pupils slightly given in outline.
New : nose. The neck was intended for insertion into a statue.
On it the modern inscription TPY'I'INA. H. o'29. L. of face

0T4. [*]

65. (Maz. ?) Bust, a head with a Bacchic fillet round the fore-
head, on a mailed bust, all from one piece; christened Pindar.
Modern. [*5]

66. (Maz. 13) Bust of a Roman lady, of the beginning of
the third century a.d., with the head-dress of Julia Mammaea, but

WII.TON HOUSE 67 — 74. 687

hanging lower on the nape of the neck. The head is prettily in-
clined a little to its r. Re-worked. New : tip of nose, draped bust
of variegated marble. Inv. Maz., no. 13, "Une teste de femme,
avec un bitste d'alabastre hrun." [*^]

67. (Maz. ?) Bust of Vespasian, whom in fact the head some-
what resembles. The slight beard is only rendered by marks of the
chisel. The bust, with the transverse strip of the toga (so-called
laena), is unbroken. The genuineness is very doubtful. \*-B]

68. (Maz.?) Statuette of Dionysos. Clarac iv. 676, 1563.
Creed, PI. 39. The youthful god, nude except for the nebris which
hangs slantwise over him, rests on the r. foot, lowering the r., raising
the 1. arm. New : the head crowned with ivy, the 1. arm with the
bunch of grapes, the r. hand, lower part of r. leg, half the 1. leg,
besides half the stem of a tree. Superficial workmanship. Coarse-
grained Parian marble. H. i'o5. We may compare Inv. Maz.,
no. 34, " Bacchus nud, tenarit en sa main droite i/n raze apptiy'e sur un
tronc et de sa main gauche une gfappe de raisin, haut de six palmes et
demie." [*]

69. (Maz. ?) Bust of Caracalla, with a sharp turn to its r.
shoulder. Pupils expressed. The mailed bust unbroken. All in
excellent preservation except the nose and the lobe of the r. ear,
which, are restored. This bust is of good workmanship and may be
antique, still its genuineness cannot be warranted. [*i?]

70. (Maz. 83) Group of Seilenos with the infant Diony-
sos. Clarac, iv. 724, 16S0 B. Creed, PI. 40. This is a poor and
very much spoiled replica of the often repeated and favourite group,
in which only the torso of Seilenos is antique (broken across the
middle) together with the thighs and the shoulders, and on the 1.
shoulder the r. hand of the child, which has offered the hint for the
restoration. H. 1-26. The numerous marks of the hammer indicate
the origin from the Mazarin Collection. Inv. Maz., no. 83, "Saturne
nud, couronn'e d" espies de Me, tenant aitre ses bras un petit enfant appuye
sur son cote gauche, haut de cinq palmes et demie, ou environ." [*]

71. (Maz. ?) Relief of Kleopatra. Modem. Inv. Maz.,
no. 116, " Une mcdaillc ronde de bas relief d'u tie teste de Cleopatre cl
demi destach'ee, avec son buste a dcmi nud, ayant un serpent sur Vespaule,
le tout de marbre blanc."

73. (Maz. ?) Female head of ideal features, a fillet through
the hair. Small scale. Draped bust of variegated marble. The
whole modern. [*i?]

74. (Maz.?) Egyptian statue. .\\. Gordon, An Essay toioards

688 WILTON HOUSE 76—84.

explaining the hieroglyphical figures on the coffin of the ancient mummy,
beiottging to Capt. Will. Lethieullier, Lond. 1707, PI. 10 (at that
time already in Wilton House). Creed, PI. 19. Kneeling statue of
Hefeknecht, a high official of the 26th dynasty (seventh century b. c),
holding on his knees a portable shrine with a statue of Osiris ;
dedicated to the god Phtha. Head and breast are falsely restored
as those of Isis. Basalt. H. 0-89. According to Kennedy, p. 37*,
the statue comes from the Mazarin Collection. [W]

76. Three-sided pedestal, perhaps of a candelabrum; a hole
on the flat top. A. Seilenos, girt with an apron, stands facing r., a
lowered torch turned backwards in the r. hand, holding a dish full of
fruit on his 1. hand. B. Satyr, dancing r., with head thrown
back, holds behind him in his r. hand an upright thyrsos, reaching
out a kantharos in his 1. hand ; the nebris fluttering round his 1. arm.
C. Maenad, dancing r., the 1. arm upraised to the front, the r. arm
lowered behind. Coarse Roman work. H. o'42- L. 0-33. [*]

78. Modern copy of the bust of the physician M. Modius
Asiaticus, in Paris (Visconti, Iconogr. grecque, i. PI. 33). This bust
was obtained by Earl Thomas from the Duke of Argyll. Cf. London,
Stafford House, no. 3. Oxford, no. 238. There is another copy in
the Museum at Bale. [*-5C]

79. (Maz. ?) Bust of a boy, named, but without warrant,
"Alexander Severus." Head and neck uninjured, the rest modern.
Good head. Coarse-grained Greek marble. H. 0-53. [*^]

80. (Maz. ?) Bust of a beardless man, with short curls ;
in character about the period of Hadrian. Head and bust to below
the muscles of the breast unbroken, but yet almost certainly modern,
as is the inscription AMMONIOS | OAYMniAA. | ^2K-0-. [*B\

81. (Maz.?) Head of a boy, named " Marcellus," uninjured.
Modern. [*^]

84. (Maz. ?) Bust of a bearded Greek, with a fillet through
the hair. It is more like Homer than Sophokles, who occurred to
Newton, though it does not quite correspond to a known type. Face
strongly wrinkled. Blindness not expressed. Ears abominable, the

* "There are numerous Hieroglyphicks round the Bottom, and behind the
Statue, which at any time may be taken ofF, by applying to them stiff paper
moistened, and pressed with a Bodkin. One Mr Pulleine, my Lord [Thomas, Earl
of Pembroke] informs us, was the first who practised this Manner at Rome, and
from him the celebrated Antiquary Fabretti learned it. The latter took off a
Port-folio of Hetruscan Inscriptions, which he made a Present of to our Royal
Society." (Kennedy, /. cil.) In point of fact, the art of making paper impres-
sions is still older, see Huebner, Rheinlaud. Jahrb., XLlx. pp. 60 ff.

WII.TDX IIOMSK 85—94. C89

sculpture generally detestable. New : nose, as well as the draped
bust of variegated marble. [*B]

85. (Maz.?) Fragment of a Greek sepulchral relief. On a
couch covered with tapestry lies a mnle fij,'ure (new : head and half of
the 1. forearm), the upper part of his body nude, lifting in his r. hand
a cup (partly antique); before the couch a three-legged table with
cakes and fruits. With this fragment of Greek marble, h. 0-44, 1. 0-57,
there is joined on the r. side by means of an intervening patch, a
veiled female figure, with a torch in her r. hand, and a dish of fruit on
her 1., taken from a sarcophagus (h. 0-27); on the 1. a much restored
Athenfe with helmet, chiton, and cloak, her shield by her 1. leg. Inv.
Maz., no. 123, "C/u bas relief lo7ig en trovers, haul de deux palmes, ou
environ, oil Ion voit un Jupiter assis aiiprh d'li/ie talk ronde chargee de
diverses viatides. tenant line tasse en sa main, et ayant d son coste droit
line Pallas et a gauche line figure qui poiie un plat, le tout de marbre
blanc." [*CJ/]

87. Relief: Curtius leaping into the guljih. Kennedy, PI. i.
The relief is entirely modern. Kennedy's effusion (see Introd., note
1 18) is highly amusing; he partly follows Creed, so that the statements
are unquestionably based on Lord Pembroke's views or those of his
authorities. [*]

88. (Maz.?) Colossal head of "Geta," i.e. a replica of the
so-called Annius Varus (Mongez, Iconogr. rotn., PI. 42). Good style,
especially in the hair. New : nose. Neck meant for insertion into
a statue. H. 0-67. L. of face 0-27. [*BC]

89. Mask, of highly exaggerated design, the brows strongly drawn
up, the hair and beard flowing; a fillet in the hair. Much hollowed
out behind ; mouth, nostrils and eyeballs perforated, presumably to
let steam or water through. H. 0^49. [*]

90. (Maz. 136) Head of Dionysos, bearded and crowned
with ivy; with the inscription Tmolos. Modern. Inv. Maz., no.
136, ^'Une grande teste dun Si line couronne de lierre et de raisins,
ayant tine grande barbe, sans buste, le tout de marbre blaiu." [*]

93. (Maz,?) Bust of " Lucilla," similar to the head in Clarac,
VI. 1 1 15 A, 3524 A. Modern. [*i? ?F]

94. (Valletta) Bust of "Apollonios of Tyana." Kennedy,
PI. 14. The hair, which is very deeply undercut, with ridges left
standing in the hollows, has something of the character of a Zeus,
only it is not so erect; it is more like that of a Pluto. The beard is
divided. New: tip of nose. Head and bust belong to each other;
the r. arm, concealed in the cloak, lies before the breast. The work-

M. C. 44

690 WILTON HOUSE 95—99-

manship, though late and of rather exaggerated style, still is good and
full of expression. On the r. arm is the modern inscription AIIOAAn-
NI02 TYAN. " When the Busto was first sold at Valetta"s Sale, a
Gentleman gave upwards of 270/. for it. There were then in the
South-Sea Time several Antiques sold for above 200/. each... which
Thomas Earl of Pembroke afterwards bought " (Kennedy, p. 53.
Aides Pembroch.^ p. 52). [*i?]

95. Statue of the Ephesian Artemis. Montfaucon, Ant.
ExpL, I. 93, 5 (?). Creed, PI. 45. Antique: only a great part of
the body, of white marble. New: head and neck, forearms, feet, all
of black marble, as is also the lowest part of the drapery. On the
crescent-shaped plate which covers the neck is represented a sea-crab
in the middle, on either side a female figure in a chiton, each holding
a palm-branch in one hand and a wreath between them with the
other; over the 1. hand female figure a ram, over the r. hand a
scorpion. This representation is surrounded by a thick wreath of
imnwrtelles, and further by a fine string with pendant charms. On
the upper part of each arm the traces of two lions. Below the four
rows of breasts the drapery is tightly gathered, and divided into
four distinct rows one above another. On the uppermost row winged
oxen or griffins (re-worked); the three other rows modem. Then
on each side, above, a rosette, below, a bee, again a rosette, and
again another bee ; above each hip the upper part of the body of
winged female figure, the three divisions below this modern. H.
0-88. [*C]

96. Torso of a Herakles or of an athlete. Clarac, v.
806, 2023 = 870, 2210 D. Creed, PI. 50. Kennedy, PI. 5, "Melea-
ger." The powerful body rests on the r. leg, with the r. hip much
pressed out. Antique: only the torso, the r. thigh, two-thirds of the
lowered upper part of the r. arm, half the advanced upper part of the
1. arm. H. 0-65. [* ?F]

97. Statue of Asklepios. Clarac, iv. 550, 11 60. Creed,
PI. 46. Kennedy, PI. 4. The genuine parts exhibit the usual mo-
tive of the god of Pergamon, the exposed breast and the 1. arm
hidden in the drapery and akimbo. (Newton prefers to recognise an
orator.) New: head and neck, half the lowered r. arm, the legs from
below the knees downwards. H. 071. [* W\

99. Head of Egj'ptian sculpture, in granite. New: nose, hps,
and chin. Kennedy, p. xxi, observes, "The head of Sesostris is
as great a rarity, as is anywhere to be found. Some Italian Gen-
tlemen travelling to the Pyramids in Egypt, discovered it there, and
brought it with them."

WII.TON IIOUSF. 101 — 109. 691

loi. Relief. Kennedy, PI. 3. Female Satyr, making a child
dance on her foot. Rosso antico. Modern copy of a Florentine
gem, Miiller-Wieseler, 11. 45, 563.

103. (Maz.?) Female head, named "Octavia," with the head-
dress of the younger Agrippina. New: nose and chin, according to
Newton also the wreath of ears of wheat. The draped bust of
variegated marble is modern. [*^]

104. Front of a child's sarcophagus. In the middle tuo
hovering Cupids hold a blank shield, below which two panthers lie
before overturned baskets of fruit. On either corner a Cupid witli
inverted torch. On each side a griffin with one paw or. a goat's head.
H. 0-30. L. 0S6. D. 0-36. [A/]

105. Lid of a sarcophagus: sea-deities with the arms
ofAchilleus. Caussens, A/i/s. /?om., 11. p. 114 (sides reversed).
At each cornor a mask with ruffled hair. From the 1. a Triton
advances, holding a shield in his hands; on his back sits a Nereid,
nude, with cloak waving behind head and back. Before them a second
Triton with an anchor, looking round at a Nereid with waving
drapery, who is slipping off his back, and who holds a breastplate (?) in
her hands. To meet them there advances a bearded Triton, holding
out a greave (?) on his r. hand; on his back a Nereid lies at full
length, the lower part of her figure draped, holding up on her r.
hand a small helmet. On the extreme r. there comes another
bearded Triton, a curved object (in Causseus' engraving a dolphin)
on his r. arm; on his back a similar Nereid with a sword-belt.
Pretty, easy sculpture. H. 0-15. L. 0-93. [Af]

106. Recumbent Seilenos. Clarac, iv. 738, 1754 A. Creed,
PI. 34. He leans with the 1. arm, which is covered by a cloak, on a
female panther, which has been transformed by the restorer into a
dog; the r. arm rests on the head. L. leg nude, r. covered by the
cloak. The bald, bearded head is not bad. New : part of the
pedestal, half the lower part of r. leg, 1. hand with cup ; besides neck
and head of the animal. Much re-worked. H. 0-45. L. o-8o. [*JV]

107. (Maz.?) Head of Apollo. Kennedy. PI. 21. The head,
which is a little turned up towards its 1. shoulder, resembles the Apollo
playing on the lyre in the large Saloon of the Capitol. The hair is
brushed back and gathered up behind into a great knot. New: tip
of nose, bust. H. 078. [*/>']

109. Sepulchral stele of Dionysios. Sitzungsbcrichte der
Wietter Akad., 1872, lxxi. PI. 2; pp. 327 ff. (Conze). A high slab
with pediment; a rosette in the field of the pediment. Below, a

44—2

692 WILTON HOUSE I 10 — I I 3.

laurel wreath in a shallow hollowed circle, surrounding the words o
Stj/jlo?, below this again Atovvo-iov Atoi/wo-tou | tov MrjrpoSwpov {C. I. Gr.,
3231); by which inscriptions the conferring of a crown on the deceased
by his fellow-citizens is kept in memory on his gravestone. Below,
a relief. A youth in chiton and cloak and with sandals holds out his
r. hand to a somewhat larger youth (Dionysios), similarly dressed,
with a roll in his hand. Behind the latter stands a diminutive atten-
dant {wo.1%), in short chiton, his head supported on his r. hand; a
similar figure leans against a high stelfe in the middle of the scene,
the indication of a sepulchre, on the summit of which stands a Siren
(cf Oxford, no. 140; Brocklesby, no. 40) with crossed legs, playing
on the lyre. Above in the r. corner a horse's head. Good style, per-
haps of the second century B.C. Probably from Smyrna; and there-
fore perhaps derived from the Arundel Collection. H. i'i3. L. o'54.
H. of relief 0-58. L. of relief 0-46. [*CIV]

no. (Maz. 93) Bust of "Scipio Asiaticus." Modern.
Inv. Maz , no. 93, '■^Uite teste avcc sonbintc habiUe...de marbre blanch

111. Oval sarcophagus. Gori, Monuin. libert. Liriae, PL 8.
Ghezzi, Camere scpolcr., PI. 7, C. Piranesi, Antich. rom., iii. PI. 28, D.
In the middle a round shield on which are the half-length figures of a
man with a short beard, in a toga with a transverse strip (the so-called
laena), and with a roll in his 1. hand, and of his wife whose arms are
round him. Below, two tragic masks, that to the 1. with long curls,
that to the r. covered with a head-cloth. On either side twisted
flutings. At each end a lion, tearing on the 1. an ibex, on the r. a
boar. H. 075. L. 2-05. Found together with no. 60. [*J/]

112. (Maz.?) Statue of the sleeping Eros. Clarac, iv. 678 A,
1567 A. Creed, PI. 35. On a piece of rock lies the winged boy
outstretched in a very pleasing attitude; under him his little cloak,
richly draped. In his sleep he lets fall the empty goblet (kantharos)
from his r. hand, while the r. arm and the head lie on an amphora with
a pointed bottom and the opening at the top perforated. The pretty
figure was therefore designed to decorate a fountain. Only the feet
restored. "Found at Puzzoli," according to Creed. L. o'sS. Cf.
Inv. Maz., no. 87, " Un petit amour mid qui dort sous [sur?] des
draperies, long de trois palines et demie, ou environ, ct haut d'une paltne
et detnie." [■* C]

113. Square altar, without any architectural moulding, adorned
on each side with a figure moving r. A. Zeus, in a long cloak, a short
sceptre in the 1. arm, holding an eagle on the extended r. hand.

WILTON HOUSE II4— Il6. 693

B. Hermes, with j)ointed beard, the short chlamys thrown round
the shoulders and lifted with the raised r. hand, the petasos on his
head ; on the 1. hand traces of the kerykeion (K. O. Miiller in
Bottiger's Amalthca, in. p. 45, recognises Ares in this figure, Newton
conjectures Poseidon, Conze Dionysos). C. Hestia, (? Aphrodite?)
in long drapery with chiton and cloak, a knot of hair {krobylos) on
the na])e of the neck, a long sceptre on the 1. arm; the r. arm, quite
worn away, probably advanced a little in an upward direction, seems
to have held some small object. D. Athene, grasping her chiton
by a corner with the lowered r. hand, with a chlamys like a shawb
aegis, helmet, a large shield on the 1. arm ; by her 1. foot a snake coils
itself up. — The figures are very slender, in stiff hieratic style, coarsely
executed. The very low relief is much abraded. H. 0-43. L. 0-27.

[*cj//ri

114. Head of a rather aged Satyr, bound with an ivy
wreath; of coarse workmanship but very good character. The tip
of the nose is wanting. H. 0-49. \W\

115. Right end of the front of a sarcophagus: sea deities.
On the extreme r. a nude Nereid floats away, leading a sea-horse by
the bridle. She is grasped by a Triton who holds a steering paddle on
his 1. arm, and on the convolutions of his tail, which extend a very
long way, he carries another Nereid (Venus according to Newton)
whose legs are covered by her cloak and who makes a drapery wave
in an arch over her head, looking up to the r. A small Eros with a
wreath flies behind her. On the extreme 1. lies a third semi-nude
Nereid (seen from behind) almost flat on the back of a Triton whom
she embraces to kiss him. Imperfect on the 1. The Tritons are
vandyked about breast and back with indented lines, to show the
blending of the human and fishy natures. Below, the modern inscrip-
tion NHPEIAE2. [.J//r]

116. (Maz. 48) Seated female figure, named Livla. Clarac,
III. 438 B, 7S6 E, " Ceres." Creed, PI. 62. On a massive chair
with a cushion on it, the fore-legs being broken off, sits a female
figure in girdled chiton, her cloak thrown round the upper part of the
lowered 1. arm, the stomach and legs, her feet resting on a broad
stool. The head, with a cloth over the hair behind, is antique
(new: nose), probably however not belonging to the figure. New:
neck, three-quarters of the r. arm with the little staff in the hand, the
1. forearm with the small orb in the hand, the advanced r. foot. In
the absence of the original head and all the attributes the original in-
tention can scarcely be determined ; Newton proposes a Muse. Good

694 WILTON HOUSK IIJ — I 20.

decorative work; the statue is worked in two pieces, which were then
put together. Greek marble. H. with pedestal i -60. Inv. Maz., no. 48,
'■^ Julia assize ; habillee, tenante tin bastoii de la main droite et de P autre
une petite roue sans rais, haute de six palmes, ou e?iviron." [* JF]

117. Seated female figure, named Bidia Clara. Clarac,
III. 498 A, 1 131 E, " Inipcratrice en Muse.'" Creed, PI. 64. On
a seat without legs sits a female figure, on whose neck and
r. shoulder the smock iindusiutn) is visible under the stola — a rather
rare detail. The cloak with rich folds covers the upper part of
the 1. arm, which is somewhat raised, the stomach, and the legs.
The drapery is treated with a lack of repose ; no large masses fall
separately, but many comparatively small folds run too much in
parallel lines ; only along the legs is the effect better. Probably the
figure represented an empress ; the head however (in the style of the
third century a. D.) is modern, as also are the nude parts of both
arms, the seat, the 1. foot, the pedestal. H. 1-32 (without the pedes-
tal). \*B ;r]

118. Statuette of a female figure, restored as a Muse.
Creed, PI. 48, "Calliope." She stands on the 1. leg, the r. being drawn
back. In addition to a girdled chiton she wears a cloak over the
1. arm and the legs; the 1. forearm was raised, ther. arm lowered. Re-
stored : the head with the stephane, r. arm with flute, 1. forearm and
a piece of the drapery ; the rest is regarded with suspicion by New-
ton, but seems to me to be anti(iue. Insignificant sculpture. H. abt.

°-5o. [*]

119. (Maz.) Statuette of Apollo. Clarac, in. 544, 1144.
Creed, PI. 14. Kennedy, PI. 10 (former restoration); Clarac, iii. 494 B,
954 D (present condition). The god, with his legs in the attitude of the
Sauroktonos, leans with a gentle turn of his body over to his own 1.,
somewhere in which direction the arm must always have been sup-
ported ; the r. arm is lowered and is close to the body. Slantwise
over the breast runs the strap of the quiver. The little figure is
placed too high for one to examine it minutely. The following parts
seem to be restored ; head, r. hand, 1. arm from below the elbow, the
cithara and the remains of a tripod which serves to support it, the
legs from the knees downwards, besides the support covered with a
cloak; the rest may be antique. H. 0-53. Inv. Maz., no. 91,
'^Apollon nud, appuye du bras gauclu sur son plectre qui est pose sur
nn foyer triangulaire, A I'entour du quel est entortille un serpent, la
dite figure haute de trois palmes, on environ." [*]

120. "Cippus, inscribed dm | probvs im: | clavdias:; but

WILTON HOUSE 121 — 127. 695

this inscription is modern ; below, in relief, tripod with the corlina of
Apollo surmounted by a winged head ; on either side a griffin ;
above, an eagle, the wings terminating in two snakes. This front is
flanked by two columns, the capitals of which are formed of foliage
curiously combined with fish. At the two opposite corners are two
pilasters ; between, on each side, is the laurel tree. The cippus is
supported by a pedimental cover, on which are two birds, sup-
porting a wreath. 'J'he two heads let into the cover are modern."
[i\c7<:'/(w]

121. (Maz.) Relief: head of Minerva in porphyry, with a helmet
in verde antico. Cf. Kennedy, p. 57, "Alto Relievo of Pyrrhus, the
son of Achilles, oval ; the Face is Porphyry ; which the Card. Mazarine
so much valued, as to finish his Dress with a Helmet of different
coloured marble."

122. (Maz. ?) Bust of " Cleopatra." The wavy hair is brushed
back and forms behind a bunch of corkscrew-like curls. Restored :
nose and all from the neck downwards ; the head itself, about which
Newton expressed doubts, seems to me to be antique. Bernoulli
presumes that it is an ideal head. [*j9]

123. (Maz.?) Bust of "Germanicus," to whom the head bears
only a distant resemblance. A slight beard on the cheeks. The head
as well as the bust seems to be modern ; cf. on no. 1 73. [*^]

124. (Maz.) Statue of Eros stringing his bow. Clarac, iv.
650, 1495. Creed, PI. i. 17, 18. Kennedy, PI. 12. Antique: only the
beautiful torso of good, soft work, including the r. shoulder and half
the upper part of the r. arm ; it is of Parian marble. By a piece of
neck two or three inches broad there has been attached to it a head
of different marble, to judge by expression of face and treatment of
hair belonging to a girl, very much re-worked ; new : nose and
chin. According to Creed and Kennedy, p. 50, "by Cleomenes."
H. 1-32. A number of hammer marks on the breast and 1. hip prove
that it is derived from the Mazarin collection. Cf. Inv. Maz., no. 36,
" Cupidon qui bande son arc, haul de six palmes, ou environ:' [*C^F]

125. Greek sepulchral relief A beardless man, in chiton
and cloak, holds out his r. hand to a seated female figure in chiton
and cloak, who rests her r. hand perpendicularly on the chair. Roman
imitation of an Attic original, in low relief, of mediocre workmanship
and completely re-worked. Below, the inscription. ..uos(-vios.') 'AttoX-

Xiunos I t YaikKIo. xaipciv. Italian marble with black spots. H.

0-57. L. 0-23. [*C]

127. (Maz. 52) Bust of "Arsinoe," with 1. breast exposed.

696 WILTON HOUSE 12S— 131.

Modern. Inv. Maz., no. 52, "Une teste antique d' une femme, avei son
buste nioitie habille.... de marbre blanc." \^E\

128. (Maz.?) Bust of "Kassandra," Kennedy, PI. 33. The
head is artistically encircled by a head-cloth in the fashion of the
so-called heads of Sappho (cf London, Lansdowne House, no. 45)-
Inserted into the draped bust. The genuineness is doubtful. [*j5]

129. Sarcophagus. Gori, Monum. liberi. Liviae, PI. 9, B.
Ghezzi, Camerc scpokr., PL 7, B. Piranesi, Antich. rom., iii. PI. 27, O.
In the centre field Meleagros makes an offering from a cup on an
altar with burning flame. He is nude except for the chlamys, a
spear in his 1. hand. The boar's head lies on the ground by the
altar. This whole piece is set on its own plinth with architectural
mouldings. Then, on the 1., Atalantb, in short hunting costume,
with quiver on her back, grasps from behind Meleagros' r. shoulder,
and gazes at him. The faces of both figures are only blocked out,
so as to receive at some time the hneaments of the deceased per-
sons; the grouping of the upper parts of their bodies corresponds,
as Conze observes, to that of the married couple- on the medallions
of numerous sarcophagi. On Meleagros' r. is an attendant with
curly hair, undercut with the drill, in a chlamys, only slightly ren-
dered; of the lower part of his figure nothing is visible. On the
r. and 1. a large field with twisted flutings. At each end, on a sepa-
rate pedestal, a Dioskuros with the chlamys on his back, and the egg-
shaped cap (ttiAos) on his head, in one hand a spear, on the other
arm a sword. — On the sides, angular barbarian's shields and spears
crossed, incised in outline. H. o'64. L. 2'o8. D. 0-58. Found
together with no. 60. [*CJ/]

130. Statue of a Nymph (?). Clarac, iv. 594, 1425 A, Vem/s
ou Nymphe. An almost nude female figure, with curls falling far
down on the shoulders, rests on the 1. leg, the r. leg slightly bent.
She leans with r. arm on a square pillar; 1. arm akimbo. Over the 1.
forearm lies a corner of the cloak, which envelopes the lower part of
the body at the back and the r. leg in front, and then is gathered in
a rather unusual and tasteless fashion between the thighs, forming a
kind of knot before the abdomen. The figure is in excellent preser-
vation, the whole, even the pedestal, unbroken. New: only head
and neck; the r. hand is missing, and the urn attached to the pillar a
little below the same is at all events of doubtful genuineness. This
pleasing statue may perhaps represent an Aphrodite. H. I'ig. [* W^]

131. Statue of Tyche(?) seated. Clarac, ui. 438, 786 C,
"Ceres." Creed, PI. 51, "Pomona." A veiled female figure in

WII.TOX IIOUSK 132—137. 697

girdled chiton and cloak, sits holding in her 1. arm a cornucopiae
tilled with various fruits; the lowered r. hand may congruously with
this have held the handle of a steering paddle (cf. e.g. Monum. dell'
Jnst., VI. PI. 13). The head belongs to the figure; pupils expressed.
New: part of the hair over the forehead, the 1. forearm and the
lower half of the cornucopiae, the r. forearm with a bunch of as it
were ropes in the hand, both legs from the drapery downward, the
piece of rock (restored instead of a chair), and part of the cushion upon
it, the pedestal. Small decorative figure, not bad. H. 073. [*]

132. (Maz.) Statue of a child seated, restored as Herakles.
Clarac, v. 783, 1957 A. Creed, PI. 54. On a rock (much re-worked)
sits a child, the modelling of the body soft, in pretty movement, the r.
foot set up somewhat higher than the 1. New : head, and both arms,
the r. raised, the 1. lowered, each entwined by a snake. Fairly super-
ficial sculpture. H. 075. Cf. Inv. Maz., no. 131, "Un Hercule nud,
assis stir tine pierre, tenant dans sa tnain droite line cotileuvre, et de sa
main gaiidie une autre cotileuvre, hatit de detix palmes, oti environ."

[*]

134. (Maz. 51) Bust of "Cato Major," at all events in the
style of a Roman of the last age of the republic; allied to Ince, no.
150, only with the back of the head larger. Probably modern. Inv.
Maz., no. 51, " Une teste d'un Cesar, avec son bitste arme, convert du
manteau constilaire, et son pied d'estal, le tout de marbre blanc." [*-ff]

135. Bust of Trajan, a portrait quite devoid of character, of
poor execution. New: nose and ears. On the pedestal two Victories,
bearing palms and holding a wreath. Genuineness questionable. [*£]

136. "Cupid, sleeping on a lion's skin; a small figure, in alto
rilievo." \_A'aoton'\ Creed, pi. 67?

I37> 138- Sarcophagus : Triptolemos. Montfaucon, Ant.
expl., I. PI. 45. Gerhard, Aiitike Bildrceike, PI. 310, i, 2. Miiller-
VVieseler, 11. 10, 117. Overbeck, Atlas zur Kttnstmythologie, PI. 15,
3 (from a new drawing). From the extensive literature (Overbeck,
Kunstinyth., iii. p. 510 note b) I give prominence to the remarks
of Newton, Wieseler, Conze [Arch. Anz., 1864, pp. 175, 209),
Forster {Raub der Persephone, pp. 264 ff. Arch. Zcit., 1874, p. 102 ;
1875, pp. 79 ff.), Brunn (Sitzungsberichte d. Miinchn. Akad., 1875, '•
pp. 21 ff.), Michaelis {Arch. 2^it., 1874, p. 64), Overbeck, Kunst-
mythol.. 111. pp. 571 ff. 665 ff.). 137. Front. On the extreme 1. comes
((7) Persephone on a biga, in long chiton, with cloak waving behind
head and back, a fillet in her hair; with both hands she holds the
reins of the two rearing horses, one of which is seized by the bridle

698 WILTON HOUSE 1 37.

by {b) a female figure (Hekate?), turned 1., in short, doubly girt chiton
and with flowing cloak behind her head; over her forehead a knot of
hair (korymbos), on her feet high boots; she carries a whip on her 1.
arm. Beneath the horses {c) Tellus lies on the ground, in chiton and
cloak, her head wreathed with vine-leaves and grapes. It is hardly
to be doubted that in this scene the return from Hades (avoSos) of
Persephonfe is represented; its connection with the following scene,
the mission of Triptoiemos, is however unusual and noteworthy.
On the r. of b stands {d) Dionysos, nude except for the cloak, which
however only covers the r. thigh and the 1. arm, his hair, which
forms a mass on the nape of his neck and falls in long curls on the
shoulders, wreathed with vine-leaves. The lowered r. hand rests on
a strong vine-stock which divides this entire scene from the preceding,
the 1. arm rests on the thigh of e, towards whom also his gaze is
directed. Turned away from him sits {e) Demeter, on a piece of rock
by which a snake is coiled. She wears chiton and shoes and is com-
pletely enveloped in her cloak; on her hair a stephane; on the 1.
arm she holds a short sceptre, the lower end of which rests in the
hand; her r. hand is extended to g. (The object visible under
this hand consists of the stalks of the ears of wheat held by /)
Close to e in the background stands (/) a female figure (Hora?)
in a doubled chiton, with long hair, carrying ears of wheat in the
1. arm. About the middle of the relief stands {g) Persephone,
in full face, with the body turned r., but the head turned back
and bending towards e, to whom she also holds out her r. hand.
She is draped with a cloak and the chiton, which slips down off her
lowered r. shoulder, and wears shoes : in her 1. hand she carries
some ears of wheat. Her attitude altogether is like that of a person
taking leave. On her r. in the background stands {h) a bearded
attendant, in the exomis, facing r., with a high basket on his 1.
shoulder (the whole figure in very low relief). Then comes (/) Tri-
ptoiemos, in full face, stepping up, as it were impatiently, on to a
chariot which is on the point of being borne into the air by two
large snakes covered with scales which are harnessed under the yoke.
With his 1. hand Triptoiemos holds his chlamys, which makes a deep
apron filled with grain, as the sower carries it. He looks back at
the two goddesses, and lays his r. hand on Persephone's 1. arm ; he
evidently wishes to prevail upon her to mount the chariot with him,
which is certainly an unusual variation of the myth but still not
inappropriate. Between the thumb and forefinger of his r. hand
there is to be noticed a small round object, in which Conze would

WILTON HOUSE I38. 699

recognise a single grain (it must then be assumed that the whole
hand is full of grain for sowing): still its shape is not very clear,
and it may very well be nothing more than a little piece of marble
allowed to remain, like a similar piece which is to be seen above the
thumb. Behind the chariot rises an olive-tree with some berries in
the leafy head. On the r. of the snakes stand four figures, all in full
face, all with their heads inclined towards the side of the principal
group. First comes (/•) a female figure in chiton (slipped down oflf
the r. shoulder), cloak, shoes, raising the r. hand, so that the open
upturned palm is close in front of the heads of the snakes, and
holding on the 1. arm a very long sceptre (broken at the lower end).
Then follows (/) a youth in chlamys which covers the body in front
and behind with as it were a pair of wings (cf. Pctworth, no. 5); he
lays his hands on the shoulders of the two female figures. Round his
head and over the forehead he wears a fillet. Next comes a female
figure (///) draped like k, over her forehead a fillet decorated with a
small palmetto-like ornament (consisting of four small leaves). She
holds with both hands a long bundle which can hardly be any-
thing but a bunch of plants; below, over the r. hand, the leaf form
is plain ; further up there are fine parallel strokes like stalks, at
the top it is somewhat widened and partly worn away; most pro-
bably it is just a bunch of ears of wheat, though peculiarly formed
and without the ears being rendered at the top. On the extreme
r. stands 0, again corresponding in the drapery to k, only that the
1. shoulder is exposed; in the 1. hand she carries a sickle, the
lowered r. hand she lays on the head of (n) a diminutive nude boy
who stands between m and 0 laying hold with both hands of a
tall, narrow sheaf of wheat which stands on the ground. Forster
hazards names for this group, (i) Aphroditb, (/) Hermes, (w, o)
two Horae, («) Plutos, but his proposals, at least in the cases of
k and n, are not likely to be regarded as certain. The eyes of all the
figures of the front have a narrow opening with a little hole drilled
therein — Sides. On each a tripod between two griffins. — (138) Lid.
Front. At each corner a youthful mask with long hair and Phrygian
cap. In the long field are the four Seasons represented in the
guise of reclining female figures with attendant boys, excellently
arranged in lines which wave in the forms of garlands, "a beautifully
animated ornament." They are placed from 1. to r. in the following
order: A. Summer, crowned with ears of wheat (much scoured away),
with the upper part of the body nude, legs, r. arm, back and head
enveloped in a wide cloak, rests on her r. arm and holds in the 1. a

700 WILTON HOUSE 1 38.

large cornucopiae, in this instance, as with those of the other three
female figures, full of apples, grapes, ears of wheat, &c. A winged
boy hovers up to her with a sickle (the handle broken off) on his 1.
arm, laying his r. hand on the cornucopiae. B. Opposite lies
Autumn on her 1. arm, wreathed with vine-leaves, in a chiton, which
leaves the r. breast free, and a cloak, laying her r. hand on the cornu-
copiae, up to which a winged boy hovers from the 1. The Autumn
Hora turns back her head towards C, the Hora of Spring, who turns
her face similarly towards Autumn. Spring lies on the r. arm, and is
draped like Autumn, only that the r. breast is still further exposed.
Her single special attribute is the wreath of flowers (scoured away) in
her hair ; her 1. hand lies on the cornucopiae, which a winged boy,
standing, supports. On the extreme r. lies D, the Hora of Winter,
completely draped, with the back of the head veiled, the r. hand on
a cornucopiae, in which is a pine-cone. A boy without wings ap-
proaches her from the 1., with a sleeved undergarment and hose
(aVa^upt'Ses), shoes, chiton, and cloak, bringing a hare in his advanced
r. hand. The principal seasons of the year, Summer and Winter, are,
as De Boze (in Montfaucon) has already recognised, placed at the
ends and clearly characterized by their drapery and the attributes of
their attendants; the seasons of transition, Autumn and Spring, which
are draped alike, without any attribute except the distinctive wreath,
occupy the middle. (Conze would recognise in A the Spring, in C
the Summer, because he overlooked the wreaths and took the sickle
for a bow.) The two boys on the 1. hover, those on the r. use their
feet. The essentially similar horns of plenty in the hands of all four
Horae express the collective abundance of blessings bestowed by
the complete year. — Sides. On each a recumbent torch. — In the
middle of the front is an inscription, the first line of which is on the
lid, the second on the upper border of the sarcophagus (C /. Gr.,
926):

O y^^^^.-^K' AtPH'AiOO' €*TTA'c}3PO 'AGI • too*

CY>^-Bi'OO*AN'Ta)*NrA*BA'Ae*prA'e'0H'Ke -s^

(the e.xtraordinary punctuation after almost every syllable is note-
worthy), i.e. ©(tots) KiaTO-y^ovioVi). Avp-qXtw 'E7ra<^po8etVu) j cru/x/Jiu)

'AvToivia BaAc/Di'a iOrjKe. (The name AvpTjXioi 'EtratppoSeLTos recurs in
Hermionb, C. I. Gr., 1224, in Kyzikos, 3665, 1. 33, in Lycia, 4303,
h 7, and as lepeOs o-toXio-tiJs "lo-tSos Kai. 2<f)a7ri8os on an inscription dis-
covered in Attica, edited by Wieseler, Gott. Nachrichkn, 1874, p. 14.

wii.Tox nousF. 137, 1 3R. 701

Forstcr, Arc/i. Zuit., 1874, p. 105, note 4, and Wieseler, Abhandl.
d. Gott. Ges. d. IViss., xix. p. 35, found it possible to regard the last
as the personage commemorated on the present sarcophagus, though
the character of the writing is different.) The beautiful composition
is very well executed, in parts excellently, in such high relief that the
figures are in parts completely detached from the field ; consequently
these small and very well preserved figures produce an effect like that
of a carving in ivory. The marble is certainly not Attic, neither
Pentelic nor Hymettic, but the dry, opaque, blue-gray grain traversed
by blackish streaks suggests (Southern?) Italy, just as also the
sculpture thoroughly resembles the sarcophagi made in Rome itself
(Matz, An-//. Zeit., 1872, p. 15; 1873, p. 30). A replica of the
Triptolemos in a somewhat different combination is to be found on
the famous (Roman) sarcophagus at Aix la Chapelle, in which the
corpse of Charlemagne had been originally buried (Forster, Raiib der
Persephone, p. 177). Of the- history of the sarcophagus the following
account is given by De Boze {Memoires de I' Acad, des Inscr., iv. p.
648): "-Des voyageurs qui I'avoieiit decottvert dans des rvines pres
d'Athhnes, le transporterent en France pour en /aire present a M. le
Cardi7ial de Richelieu; mais le Cardinal s'etanf trouve inort a Icur
arrivee, il demeura comme ignore enire les mains d'une personne de la
niaison de Rostaing, d'oti il est passe depuis quelques annces en celles
de M. Foucault Conseiller d'Etat, et Juste estimateur de ces restes
precieux." Between Richelieu's death (1642) and De Boze's disserta-
tion (read 1716) 74 years had elapsed; for almost the whole of this
period the sarcophagus had been lost sight of {comme ignore), so that
after so long a period too much faith must not be placed in the
trustworthiness of the tradition given above. It would be utterly
untenable if Galland, as Bockh (on C. I. Gr., 926) states after an
unprinted letter from him, really claimed to have seen the sarcophagus
in Athens. For Ant. Galland was not born until four years after
Richelieu's death, and was never in Athens before 1673, when he
visited that city in the suite of the Marquis of Nointel. I presume
however that Galland did not see the sarcophagus in Athens, but
in Athies in France, where Foucault had a house in which he kept
a portion of his collections (cf. Montfaucon, I. p. xix.) ; Galland for
several years shared Foucault's house and studies, and got from his
collections the material for several works {Mem. de I' Acad., in. pp.
325 ff. Biogr. Univers., art. Galland). Consequently the assertion
of the Attic origin of the sarcophagus seems in fact only to rest on a
rather we.nk foundation. It miglit have arisen owing to the Eleusi-

702 wir.TON iiousF. 141 — 144.

nian myth and the Greek inscription. If however the sarcophagus
should really have been brought to France from Athens, the Italian
marble and the Roman work would prove that it must have been
sent in early times from Rome to Athens (cf Cambridge, no. 31).
H. 0-65. L. 2-03. D. 0-65. [*CAfJF]

141. (Maz. ?) Bust of "Poppaea," much more likely of the
elder Agrippina. At the back the hair is gathered up into — not a
plait— but a small knot, and covered with a net. Very much re-
stored ; only the lower half of the face, exclusive of the tip of the
nose, which is restored, is certainly genuine. Bust new. [*.^]

142. (Maz.?) Bust of Marcus Aurelius (?), in his youth,
erroneously called "Augustus." Much worn away; probably modern.

143. Sarcophagus. Gori, Alonutn. libert. Liviae, PI. 9, A.
Ghezzi, Camere sepolcr., PI. 8, D. Piranesi, Antich. ran., iii. PI. 30, B.
In the middle a round shield with a male bust in tunica and pallium ;
face only blocked out. Below, two crossed horns of plenty. On
each side twisted flutings. Sides. Shields and battle-axes crossed.
H. 0'42. L. I '95. D. 0-50. For the origin cf. on no. 60. [M'\

144. (Maz.) Hermes Kriophdros. Clarac, iv. 658, 1545 B.
Creed, PI. 22. Miiller-Wieseler, 11. 29, 324. Overbeck, Gesch. d.
griech. Plastik, 1. p. 194, ed. 2. As Newton proved by comparison
of a coin of Tanagra (Arch. Zdt., 1849, PI- 9> "O- 12) the statue is an
imitation of the Hermes Kriophdros in Tanagra by Kalamis (Paus. 9,
22, i); certainly not the original (Overbeck, ^ri"/;. Zeit., 1853, p. 46),
but a late, very superficial copy, made for decorative purposes. The
god stands with his legs close together, quite symmetrically upright,
holding in front of his breast with both hands the fore and hind legs
of a ram which he is carrying on his back, the neck and head of the
animal (restored, remains of a horn antique) over his r. shoulder.
The head is in the conventional style of many terminal heads ;
two rows of small curls over the forehead, above them a stephane ;
mustaches, beard, and large whiskers very stiff, as are also the
two plaits of hair which fall down on to the shoulders ; the pubes
also (finished off at the upper part in the shape of a triangle)
crisply curled in archaic fashion. The pillar against which the god
leans his back is in front and on the sides for the most part
covered with a cloak, which forms stiff zigzag folds. The smooth
wings on the feet are almost like a crescent. The powerful muscles
of the arms, the powerful thighs, the shape of the knee, the flat
stomach, bring to mind the characteristic peculiarities of an archaic

wii.TON" iidusi-; 145, 146. 703

original; yet the stomach is too broad, the breast very weak, the
forearm chimsy and too short, the shins and ankles clumsy, the
drapery superficially treated. The back part is rather flat, not much
worked. Seeing that archaic art is wont to render the animal better
than the human figure, the superficial representation of the ram, and
its smooth, only slightly flocked fleece, is especially striking. The
pillar suggests that the figure was turned to account as decoration
of a balustrade (cf Cambridge, no. 4); there is no hole on the top
of the pillar, but on each hip of the god are two holes, one close
above the other (abt. 0-58 and o'65 above the pedestal), which
suggest that metal rails were here inserted (on the 1. side there is
another wider hole in the folds of the cloak, 070 high) ; the sides
of the pedestal also are so worked that marble lintels were meant
to abut upon them. H. 1-26, of the Hermes only 1-12, of the
pedestal only 0-12. The marble seems not to be Greek, but Carrara.
Grievous marks of the hammer on breast, stomach, and thighs,
prove that it is derived from the Mazarin collection, cf Inv. Maz.,
no. 60, " Un Sacerdote antique, nud par devant, portant un mouion
sur les espauks coiivertes d^un linge, haul de six palmes, on environ''
The more ridiculous is the following effusion of Kennedy's : " The
Statue of Jupiter kxavdon from Thrace, not only with Rams Horns,
but with a Ram on his Shoulders; it came out of the Temple, said
to be built there by Scsostris" (p. 31. xviii). [*<7JF]

145. (Maz. 14) Statue of Demeter. Clarac, in. 438, 754 C.
Creed, PI. 65. This pretty figure stands on the 1. leg and is.
over the chiton, almost completely enveloped in the cloak. The
1. arm, in the cloak, is lowered, the r. raised. The latter, which
originally grasped a long torch (cf on no. 158="), is new, as also
the 1. hand with the ears of wheat, of which however two stalks
are antique, and the veiled head, r. foot and pedestal. Fresh, good
work ; back part flatly treated. Greek marble. H. 088. Inv.
Maz., no. 14, " Une Ceres qui fieitf dcs espies dans ses mains, /laule de
dix palmes, ou environ." The dimensions would rather suggest no.
158% but the attribute and the remains of the number 14 on the
pedestal seem to point rather to the present statuette, for which
indeed an estimate of 1000 livres is very high. [*C]

146. (Maz.?) Statuette of a boy. Clarac, iv. 650 A, 1481 A.
Creed, PI. 53. Arch. Zeil., 1844, PI. 16. Antique: the torso with
the thighs and a portion of the stem of a tree, also the arms
bound fast behind the back (broken, but antique). These parts
are of Italian marble. A modern neck connects them with a

704 WILTON HOUSE 1 49 — I 52.

child's head in a cucullus, with closed eyes, of coarse-grained Greek
marble (obviously a copy of the gaire statue of a sleeping boy, cf.
Clarac, v. 882, 2247 D). The torso perhaps belongs to an Eros
enchained by Psyche (cf. Jahn in the Bcrichte d. sacks. Ges., 1851,
p. 163. Muller-Wieseler, 11. 55, 694 f.). H. o-66. Cf. Inv. Maz.,
no. 96, " Un Ctipidon nud ayant ks yeux baiidez, lie a un front
d' arbre par derriere, haut de tiei/f palmes." (The latter statement of
dimensions must be a clerical error, as the statue is only valued at
Solivres). [*CW]

149 (Maz. ?). Bust called Aventinus. Kennedy, PI. 13.
In the style of a head of a barbarian, with a lion's skin. Modern. [■*]

150 (Maz.?). Bust of " Marcia Otacilia." The hair is plaited
behind into a broad flat band, which is brought over back again
almost to the forehead. The division between the nostrils goes down
very deep. Eyebrows and pupils expressed. Head and neck in
perfect preservation, only the face somewhat worn away. The bust
ranks as one of the best in the collection. [*j5 fF]

151 (Maz.). Statue of a Satyr. Clarac, iv. 711, 1693.
Creed, PI. 4, 5. Kennedy, PI. 11. Replica of the often repeated
Satyr, who twists himself round in violent movement to look
at the little tail on his back, which he grasps with his 1. hand (cf.
Conze, Annali, 1861, PL yV, pp. 331 fif.). As the tail with a few
fingers on it was preserved, the restorer has caught the general
motive correctly, but, as the muscles of the neck prove, he has given
a wrong direction to the head, which is much re-worked, but an'ique
and belonging to the figure ; it has brutish ears and two little horns
over the forehead. New : 1. arm, three quarters of r. arm with
pedum, the legs from below the knees, the panther and the greater
part of the tree. The body is in good preservation, and is very well
executed. Italian marble with black spots. H. i'35. According to
Creed and Kennedy (p. 49) "by Cleomenes," according to the latter
"made at the request of a Roman nobleman" (p. xxx. cf above on
no. 87). It is in reality from the Mazarin Collection; as the marks of
the hammer prove, though I do not find this statue in the Inventory-;
it is described, however, in Sauval's Hist, des Antiq. de Paris, 11. p.
177, who mentions this and a similar statue in the upper gallery of the
Mazarin Palace as being as much admired as Correggio's marriage of
Saint Catharine and compares it to the horses of Monte Cavallo, the
Laokoon, the Medici Venus &c. [*C/f' ]

152. Greek sepulchral relief, with a flat border. A beardless
man in chiton and cloak sits on a chair and holds out his r. hand to

WII.TOxN HOUSE 155 — 158". 7O3

a similarly draped young man who stands before liim. Below, the
remains of an inscription, of which only the middle word, *iXapyupt,
can be deciphered with certainty (C. /. Gr., 7026). Very low relief,
insignificant work of the Roman period. H. 0-29. L. 0'32. [*C']
155- Oval sarcophagus. Gori, Monum. libert. LivitB, PI. 7.
Ghezzi, Camcre sepolcr., PI. 8, E. Piranesi, Aiitich. rom., lit. PI. 28, G.
Front. In the middle a thyrsos stands upright, upon which is hung
on either side a thick garland laden with fruit, the other end of each
garland being held up by a Cupid with a chlamys at his back. Within
each of the curves formed by the two garlands two large Bacchic
heads, facing each other; on the 1. Dionysos wreathed with ivy and
vine, and Seilenos bearded and bald-headed with a wreath of ivy;
on the r. a Satyr with disordered hair and light beard and moustaches
^vreathed with pine, a pedum beside him, and a Maenad, with a plait
wound round her hair, with a wreath of ivy. Beneath each garland lie
two animals, on the 1. a panther and a bull, turned away from, but
looking round at each other, on the r. a goat and a hen, the latter
standing up and pecking fruits. The whole is of very rich effect.
Sides. On each a round shield. H. o-68. L. 2-00. For the origin
cf. on no. 60. [*J/]

157. Bust of Caligula, here named "Metellus"; on a mailed
bust. Kennedy, PI. 16. Modern. [*B]

158. (Maz.?) Bust of "Lucanus." Kennedy, PI. 22. A rather
flimsy head with slight beard. Waagen sees in it "a highly finished
work of the time of Adrian;" Newton considers the head suspicious;
Bernoulli believes that he recognises the same touch as in no. 78.
In my judgment there is no doubt as to its modern origin. \*£\

158^ (Maz.) Statue of Demeter. Clarac, in. 538 B, iiio D,
"Muse." Creed PL 8, "Urania." This figure rather resembles no.
145, but is still more like a statuette of the Palazzo Doria in Rome
(Clarac, in. 438 C, 776 A. Overbeck, Kunstmythol, in. p. 465)
which is important owing to the preservation of the attributes; on our
statue only the veiling of the head is wanting. The head and neck are
inserted, but the face is new except half the 1. cheek and the 1. eye,
and the whole head seems not to belong to the statue. New: 1. fore-
arm, which should be lower and should hold ears of corn in the hand.
The r. forearm which perhaps had always been worked from a separate
piece of marble, is broken off; the hand originally grasped the upper
end of a long torch. Lastly the lower part of the statue almost from
the waist downwards is entirely new, as well as the pedestal with the
modern inscription OYPANIA preceded by the representation of a
M. C. 45

706 WILTON HOUSE I 59 — 163.

sphere on a three-sided pedestal. So much the more amusing is
Kennedy's assurance that "Cardinal Mazarine would not suffer any
part to be mended" (p. 103). The genuine antique piece is in fact
excellent. Greek marble. H. i-8o. Cf. on no. 145. [*C]

159. (Maz.?) Seated female figure. Clarac, iii. 498 A, cigoB,
" Clio." Creed, PI. 3. On a chair without a cushion sits, sinking in
very deep, a female figure in chiton (confined by a ribbon which
passes from the shoulders under the armpits, cf. Deepdene, no. 7),
abdomen and legs covered by the cloak. The feet are set rather far
from each other on a high stool. The statue has been broken into
three large pieces, first into two by a horizontal fracture through the
waist, then the lower part into two pieces tiy a vertical fracture be-
tween the legs. The head (restored: nose and upper lip) is joined on
by a modern neck; it can hardly belong to the figure, and is perhaps
modern. Certainly modern: both forearms, with the flute in the
r. and the roll in the 1. hand, the 1. foot, three legs of the chair (the
only antique leg is that in the front by the 1. leg of the figure, with a
very favourite profile). Commonplace work. H. i -05. According to
Creed and Kennedy (p. 9), "Euterpe, by Cleomenes." Inv. Maz., no.
50, " Uranie assize, tenanie tine fleur {? fliitfe) ci la main droite et ime
cartelle entortillk daiis V autre, haute de cinq palmes, ou environ." [*]
161 (Maz. 119). Bust of a young girl. A pretty, plump face,
with a snub nose, and a very lively expression about the mouth.
Pupils expressed. The head-dress indicates the third century, the
hair being parted in front and taken up at the back in a band. Very
pretty sculpture, well preserved ; bust new. Inv. Maz., no. 119, " Une
teste d' une petite fille, avec son buste habillc..., de marbre blanc." [*Z?]
162. Head of Aphrodite, of doubtful genuineness.
163 (Maz.). Front of a sarcophagus : death of the chil-
dren of Niobe. An early drawing in the Cod. Pigh., no. 163
Jahn (a rough sketch, but still without restorations) ; two others
from the Dal Pozzo collection in the possession of Mr Franks
in London (cf. Winckelmann, Monum. Jned., on no. 8g). The
scene is very picturesquely disposed on a high slab, the various
figures and groups in several instances interlocking. A rocky ground
traverses the whole length, and carries the figures in two tiers one
above the other. Lower Tier. On the 1. stands Amphion, on a
much larger scale than most of the other figures ; he is dressed in
corslet and boots. He is in the act of withdrawing on the 1. side,
holding on his r. arm (forearm wanting) a young son {A) who is sink-
ing back ; Amphion looks up to the r. and holds up his extended

WILTON IIOUSIC 163. 707

1. arm in the same direction, as if to ward off an attack. Reside liim
on the ground kneels a bearded paedagogos, in short chiton with a
skin over it, and supports in his arms a boy who is falHng forward {B),
whose r. hand lies on his shoulder. Outstretched on the ground lies
a daughter {a), her r. hand on her breast, draped in chiton and cloak.
A son (C), who has slipped off a very small horse, is dragged on the
ground with his legs trailing, as he still grasps the reins in his 1. hand :
with the r. he draws the arrow from his body. Over him the aged
nurse (Tpo<f>6^), in chiton, her cloak girt about her hips, and with the
usual head-cloth, holds a daughter (6), who is sinking back, the upper
part of the body nude. Further r. a youth (D), whose cloak held in
his r. hand waves over his head, sits on a horse which has fallen to the
ground. At the r. extremity comes Niobe, on a scale corresponding
to her husband, draped in a chiton which leaves the r. breast besides
the arm free, her wide cloak flying in a large arch behind and over
her head (so that it corresponds symmetrically to Amphion's large
shield). She stands nearly as she does in the Florentine group. The
face looks up to the 1.; long curls fall on the back of the neck. With
either arm she presses a daughter to her, both draped in the chiton ;
the small one (c) comes from the 1., the large one (d) from the r. —
Upper Tier. On the extreme 1. a youth (E) on a galloping horse
tries to escape the destruction, he looks up behind him. Behind his
horse a second bearded attendant or paedagogos, draped with the
chlamys, holds in his arms a grown-up daughter {e), who is sinking
forwards; the upper part of her body nude. Close by her a sister (/),
draped in a chiton, throws herself on to her knees, supporting her
r. hand on the ground, uplifting in a backward direction her face and
1. arm. In the middle, above the nurse, a youth (J^) falls backwards
oflf his horse, which is galloping to the r. Before the horse there is
to be seen the upper part of the body of a sister (g) apparently falling
forward, in chiton and cloak (head and both forearms wanting).
Further r. a youth (G) falls over forwards on the back of his falling
horse. Above him lies a bearded mountain god ; still higher a few
trees are visible, here and there. All Niobfe's sons wear the chlamys.
The glance of most of the figures, full of apprehension, is directed
upwards towards the middle of the scene. On a very similarly
designed sarcophagus in the Lateran Museum (no. 427. Museo Later.,
PI. 3. Stark, Niobe, PI. 19) there are on the lid Apollo on the r.
and Artemis on the 1., both represented as shooting an arrow. — The
animated composition, raised in high relief from the rocky ground of
the field, might be traced back to a picture as the original. Execution

43—2

708 WII.TON HOUSE 164 — 170.

moderate. Restorations not numerous, but coarse. Cf. Stark, AHobe,
p. 189. Heydemann, Berichte d. scichs. Ges. d. Wiss., 1877, pp. 71 f.
L. abt. 2'2o. H. o'Bo — o'go. Inv. Maz., no. 124, " Un grand bas
relief de la fable de Niobe, avcc diverses figures d pied et h c/ieval."
The relief came from Rome, where it stood, according to the Cod.
Pigh., about the middle of the fifteenth century sub Capiiolio in
pariete privafae donius. [*CAfTF]

164. Female statue, named "Sabina." Clarac, in. 538 B,
1 1 22 C. Creed, PI. 25. The figure stands quietly on the 1. leg,
draped in the chiton, over which is a wide cloak which leaves free
little more than breast and neck. R. forearm, inside the cloak, bent
upwards (half of r. hand new) ; the whole arm not well detached
from the body. L. forearm extended (hand with ears of wheat and
wrist new). Details on the folds patched. Head (new : nose) taken
from a Venus, and perhaps modern.- Drapery rather heavy. H. abt.
1-85. [*1V]

166 (Maz. 75). Bust of a Roman emperor, of the period of
Septimius Severus; named "Brutus senior." Bad and much battered,
but antique. Inv. Maz., no. 75, "Une teste d' Empereur, avec son buste
arme, ayant ttn masque sur la pcitrine et line draferie sur Vespaule
gauche." [*-5]

167. Head of a ram, in black basalt, well presen-ed.

168. (Maz.?) Bust of "Didia Clara." Modern. \*B'\
i6g. Fragment of a male statue. Clarac, v. 926, 2356 A,

"Tiberius." Creed, PI. 60, "Caesar's Father when Governor in
iEgypt." Merely the middle piece from just above the navel to
the knees is antique. Accordingly it was a palliatus, with upper
part of body nude, the 1. arm akimbo. Coarse-grained Greek
marble. Coarse but not bad workmanship. H. fo6. [*]

170 (Maz. 42). Statue of an Amazon. Clarac, v. 810 A,
2031 C. Creed, PI. 2. On the pedestal the modem inscription
AMAZ: I BAS :. An Amazon, draped in a short chiton, which leaves
r. breast and arm free, has sunk on to the r. knee in violent move-
ment, stretching out the 1. leg a long way (this leg broken, but
antique). On her feet she wears boots, the pelta on the 1. arm; the
r. arm was always raised, the head too perhaps always turned in the
direction of the 1. leg and raised. New: head and neck, r. arm, half
of the upper part of the 1. arm and the upper third of the pelta ; I
cannot say positively whether also " one of the hoofs of a horse be-
hind the pelta" belongs, as I conjecture, to this restoration. To judge
by dimension and style, the figure ccrtninlv docs not belong to tlie

WIl.TON IIOL'SE 173—178. 709

votive gifts from Attalos king of Pergamon on the Acropolis of
Athens (cf. Brunn, Annali, 1870, p. 313). H, with pedestal 092,
without o'Si; approximate length of body i'25. According to Creed
and Kennedy (p. 10) " b)' Cleoraenes." The breast is quite covered
with the marks of the Duke of Mazarin's hammer. Inv. Maz., no.
42, " Une Ainazoiie ayarit un genouil en terrc, la mamelle droite et le
bras descouverts, I'espk a la main, avec un boticlier, en posture de se
deffendre, haute de quatre palmes, ou environ " (cf. Sauval, Hist, des
aniiq. de Paris, 11. p. 176). [* /F]

173. (.Vlaz.?) Bust of "Alkibiades." Kennedy, PI. 25. The
bearded head of rigid e.xpression, with hair little curled and falling
on the forehead, is akin to a terminal bust in Paris (Clarac, vi. 1070,
2915 B). Bust with paludamentum unbroken. Without doubt
modern; in common with the bust no. 123, it has the peculiarity of
a piece of drapery bordering the lower edge of the bust. \*S\

ij^. Head of "Anarcharsis," bald. jModern. [*B\

175. (Maz.) Group of Herakles and a Satyr. Clarac, v. 790
B, 1987. Creed, PI. 37. Kow caXled" Hercules moricns. Pacas." On
a stone sits a small Satyr with exaggerated features (nose wanting),
both legs spread out, and tries with all his might to support the
drunken Herakles, whose weighty frame is quite falling over back-
wards. Both the legs of Herakles are extended in front, with his
lowered r. hand he holds the club which rests on the ground, the 1.
arm is quite enveloped by the huge lion's skin which hangs down
from his head to the ground and serves as a material support for the
whole group. Herakles' face, with long, weakly beard, is sadly dis-
torted; the head droops towards the r. shoulder, on which a long
fillet falls down. Restored : merely the r. arm of Herakles and the
greater part of his club; even the detached parts of the fillet on
the r. shoulder are unbroken. This circumstance strengthens the
suspicions as to the genuineness of the whole group which are sug-
gested as much by the forced design of the whole composition as by
the overwrought modelling of the several parts, especially of the faces.
The Satyr especially is badly designed, the upper part of the body too
long, the 1. thigh stunted, the r. foot hopping, the 1. hand quite miser-
able. The whole work very dry. H. o'93. The marks of the hammer
prove that this group is from the Mazarin Collection ; however I do
not find it in the inventory. \^B IF]

178. Terminal head of Sokrates. New: 1. eye, nose, r.
check. Of the type of the two heads in Paris. [*P\

7IO WILTON HOUSE 179—187.

179. (Maz. ?) Bust of Aelius Verus, here named " Marais
Aurelius." Modern. [B]

The following specimens, which I have only been able to survey
cursorily, are not numbered on the originals nor in Newton's Cata-
logue, in which some of them are not given at all.

I^IBRARY.

180. (Maz.?) Head of a young Pan or a Satyr, of very deli-
cate forms : according to Bernoulli, those of a young female {Paniske).
Ears pointed, over the forehead two little horns of which the stumps
are antique. New ; nose, half the neck, and the breast. Expression
and bending of the head correspond to the heads of the statues by
Cerdo in the British Museum (Grseco-Roman Sculpt., nos. 188, 190.
Museum Marbles, i. PI. 33, 43). L. of face o'lo. [*-5]

181. (Maz.?) Head of a Roman child, falsely named "An-
nius Verus"; good and well iireserved. New: nose and part of
the back of the head, besides the draped bust in alabaster. \^E\

SINGLE CUBE ROOM.

182. (Maz. ?) Head of " Masinissa," with twisted fillet round
it. Modern. [*^]

183. (Maz. ?) Head of " Pyrrhus," with helmet, of ugly
expression. Kennedy, PI. 18. Modern. [*j5]

184 (Maz. 2). Bust of Septimius Severus, good head, patched
about the face. Draped bust modern. Inv. Maz., no. 2, ^'■Une
teste antique de Septime Shire, avec son biiste habillt (Talbastre couleur
de fleur de pescM, posee sur un pied d'estal de marbre Affricain." [*-/?]

185 (Maz. 107). Bust of "Octavia Maior"; the hair
twisted in plaits into the shape of a basket on the crown, as was
usual in the second century a. d. Pupils expressed. New : nose
and draped bust. Inv. Maz., no. 107, " Une teste de femme de marbre
blanc, avec son buste habille d'nne draperie d'albastre brun." [*]

186 (Maz. i). Bust of Tiberius (not Drusus). New: nose,
part of brow and the hair, neck, and bust. Good head. Inv. Maz.,
no. 1, "Une teste antique de Tybire, avec son buste [&c., like no. 184]."
[B*]

187. Bust of " Lucius Verus," which can hardly be the
right name. Beard cut short, hair curly. Restored : nose, as well
as the bust, of four different kinds of marble. The head too has a
very modern look. [*]

WILTON HOUSE l88 — 197. 7II

DOUBLE CUBE ROOM.

188 (Maz. 10). Bust of "Marcia," with high, pointed head-
dress. Hair in a plait wound round the head. The countenance
thin and worn. New : nose and ear. Inv. Maz., nos. 9 and 10, "Z'w.a;
testes antiques de femmes, avec letirs bustcs cTalbastre oriental, fa(on
de brocard plus obscur;" cf. no. 189. [*i?]

189 (Maz. 9). Bust of " Drusilla." A well-preserved girl's
head, with plait. New: tip of nose, neck, and bust. Inv. Maz.,
no. 9, cf. on no. 188. [*^]

190. (Maz.?) Bust of the consular Horatius. New: neck,
lower part of face up to the nose, and bust. According to Newton
the face is that of a Greek youth. Newton regards the genuineness
as suspicious, to me it seemed probable. [*]

191 (Maz. 6). Bust of a youth, named "Caius Caesar." The
face (tip of nose new) is badly polished over with an acid, but
is anticjue; the draped bust is modern. Inv. Maz., nos. 5 and
6, '■'■Deux testes denfans, avec leurs bustcs d'albastre oriental trans-
parent vene de rouge ;" cf.no. 194. [*-5]

192 (Valletta). Bust of Horatius, in porphyry. A modern
fancy-portrait, multiplied as if authentic by casts, e.g. in the Library
of Trinity College, Cambridge. Kennedy, pp. 53, 65, testifies to its
derivation from the Valletta Collection. The remark of Bernoulli,
Jiiim. Jkonogr., I. p. 252, refers to this bust, not to no. 190. [*^]

193 (Valletta). Bust of " Cicero," reminding one more of
Corbulo. Of dark stone ; according to Newton of black marble,
according to Bernoulh of basalt, according to Kennedy (pp. 53, 65)
of touchstone. The bust, like the last, seems suspicious to Newton
and Bernoulli, to me it seemed undoubtedly spurious. [*]

194. (Maz. ?) Bust of a boy, modestly christened " Lucius."
Good. New: nose and draped bust. Probably identical with Inv.
Maz., no. 5, cf. on no. 191. [*]

195 (Valletta). Bust of "Julius Caesar," in alabaster, similar
to the porphyry bust in Ince, no. 144. Kennedy, PI. 20. Modern.
Cf. Bernoulli, Riim. Ikonogr., i. p. 163. For its source cf. Kennedy,
pp. 53, 64. {*B]

196. (Maz.?) Bust of an elderly Roman, named "Marcus
Brutus." Kennedy, PI. 19. Beardless, with underlip somewhat
pouting. Of grave expression. A good portrait. New : tip of nose
and draped bust. [*]

197. (Maz.?) Bust of Julia Pia, antique, but sadly polished.

712 WILTON HOUSE 198 — 204.

The tip of the nose and the plait of hair behind restored, as well as
the variegated drapery. [*B IV]

198. Round marble urn, with two short handles and a lid.
On the tablet is the inscription : D{!s) M{anibus) \ Anniae Trophi-
meni \ Q. Volusius Verus co\iugi carissime fecit. Below a relief : on a
couch lies a female figure, the upper part of the body nude, legs
and 1. arm in her cloak, holding a bird on her r. hand. Before
her a small low table, such as is still common in the East, with
viands on it. On the wall hangs a mirror and a full bodied basket
or jar. At either side of the relief a laurel-tree with a bird pecking
at it ; beneath each handle a winged boy with a torch. Sprays of
foliage cover the back of the urn and the lid. H. 0-48. Diameter

0-32. [*]

199. Urn, of a sort of pumice stone, with two slightly sketched
reliefs, of the so-called mourning bride, whose feet are being washed,
and of the old woman offering with two attendant female musicians ;
copied from Sante Bartoli, Admiranda, PL 73, 47. Zoega, Bassir.,
PI. 12. Modern. [* IV]

200. (Maz.?) Bust of a youth, here named " Antinous," de-
signated conjecturally by Newton as a Hermes. The type is to be
referred to certain heads in the style of Polykleitos, akin to the so-
called Idolino in Florence, though faintly rendered. Hair short.
New: nose, neck, and bust. A pretty head. Greek marble. L. of
face o-i8. [*]

201 (Maz. 4). Bust of Lucius Verus, the face much patched,
almost half of it modern. Bust new. Inv. Maz., no. 4, " U7ie teste de
Marc-Aiirc/le, avcc son buste d'albastre oriental rent de b/ane." [*£]

202. (Maz.?) Bust falsely named "Constantinus Magnus."
The hair grows low down on to the nape of the neck. The head,
much restored, belongs to an earlier epoch ; the portrait unknown.
Bust new. [*B]

203. (Maz.?) Bust of "Marcellus Consul," i.e. of an
elderly, beardless Roman. New: nose, chin, and draped bust. A
good portrait. [*-D]

GREAT ANTE-ROOM.

204. (Maz.) Sleeping Hermaphroditos. Creed, PL 10,
"Sleeping Venus;" according to Kennedy (p. 81) from the Mazarin
Collection. Copy of the Borghese statue in the Louvre ; according
to Newton probably antique, in my opinion modern. L. o'5i. [*]

WILTON' HOUSE 205—219. 713

205. Painting, said to have been brought from the Temple of
Juno at I'raeneste. Completely smudged over and covered with
modern inscriptions; it can hardly be made out whether there are
any antique remains underneath this covering, cf. on Brocklcsby, no.
36. [*]

206. (Maz.?) Small head of Otho. Modern. [*£]

207. Small head of Vitellius. Modern. [*£]

I.nil.F. .ANTli-ROOM.

208 (Maz.). Bust of "Epicurus." A thoroughly arbitrary
nomenclature. Head bearded, bust draped. The little specimen
has a Greek look. " Valued by Card. Mazarine" (Kennedy, p. 100),
"because there were no others of them known" (p. xii). [*]

209. Small head of " Achilles," /. e. of an Athene of the later
type, with very oval flice. Rams' heads on the front of the helmet.
[C]

This room contains some more small busts, apparently of trifling
value. [*]

COI.ONXADF, ROOM.

210, 211. Two bronze busts, one of which is inscribed
Pakmon. Of doubtful genuineness.

CORNER ROOM.

212. (Maz.?) Bust of "Pertinax." Modern.

213. Small head of Scipio, named Solon. According to
Newton modern, according to Bernoulli probably antique. \B\

STAIRC.\.SF,.

214. Bust of "Vibius Varus." Modern. [*^]

STAIRC..\SF, I,F.ADING TO THK GOTHIC HALL.

215. (Maz.?) Bust of "Seneca." Modern. \^\

216. (Maz.?) Bust of "Heraclitus." Modern. [*]

217. (Maz. 12) Bust perhaps of Julia Domna (?). Modern.
Inv. Maz., no. 12, " Uiie teste vioderne d' line femmc de inarbrc blanc,
son huste d'albastre Tcne de plusieiirs sortes de coideiirs." [*]

218 (Maz. 66). Bust of "Caligula," quite wrongly named.
It seems to be modern. Inv. Maz., no. 66, " Une teste de marbrc
blanc, avec son buste habille de marbre blanc." [*]

219. (Maz.?) Bust of Antoninus Pius, here named "MiA-
tia.iri%." Modern. [*1

714 WILTON HOUSE 220— 232.

220. (Maz.?) Bust said to be that of "nPUSIAS." Kennedy,
PI. 24. Short beard ; the hair treated Hke straw, as in Knole, no. 10.
Modern. [*]

221. (Maz.?) Bust of Aphrodite, with topknot over the fore-
head; here christened Semiramis. Kennedy, PI. 15. Modern. [*]

222. (Maz.?) Bust of "Vibius Varus." Cf.no. 214. Modern.

[*]

THE PAVILION.

223. Group of Herakles and Antaeos. Creed, PI. 42.
Coarse sculpture. Heads and almost the whole of the arms and legs
restored. H. abt. 077. [*]

224. Torsos, antique, and of good sculpture.

225. (Maz.?) Head of a laughing Satyr. New: nose.
Bad. [*]

226 (Maz. 92). Bust of Lysimachos (?). Perhaps modem.
Inv. Maz., no. 92, " Unc teste du jeune Empcreur Tybere, avec son
buste arme, ten masque sur la poitrine, le tout de marbre blanc.^'' [*]

227 (Maz. 135). Female head, after the style of the so-called
heads of Sappho. Modern. Inv. Maz., no. 135, ''Une teste couronnee
de lattrier, de marbre blane, sans buste." [*]

228. (Maz.?) Head of Apollo, of slightly pathetic expression,
the hair brushed up and fastened together on the top of the head. [*]

229. (Maz.?) Head of Zeus. [*]

230. Statuette of Dionysos. Clarac, iv. 685, 1625. Creed,
PI. 13. Kennedy, PI. 17. Antique: only the torso with broad
nebris, girt in slanting direction from the 1. shoulder, the lowered
upper parts of both arms (not the grapes in the r. hand) and the
thighs; on the r. thigh 2, piintello. H. abt. 0-50. [*]

WALK LEADING TO HOLBEIN'S PORCH.

231 (Maz.). "The foster father of Paris." Creed, PI. 43- "A
youthful figure, in a short goatskin tunic, with short sleeves, round
which is a small mantle twisted across his body. In his left hand a
shell, in his right a pipe; on his head a Phrygian cap. He wears
boots (socci), tied with leather thongs at the ankles. Seems antique
[entirely?] and curious." \Ncwton?^ Inv. Maz., no. 28, " Meraire eti
habit de pasteur convert d'une peau, tenant une flutte en sa main droite,
et un Iima(on marin dans P autre, haut de six palmes, ou environ."

232. "A naked male figure, with two long fillets of flowers
hanging down perpendiculariy, one on each side, on each flank, as

WILTON HOUSE 233, 234. 715

far as the knee. Restored as Bacchus. Head, both arms, and
panther's skin modern." [Al'tcfou.]

hoi-bein's porch.

233. Bust of "Themistocles.'' "Drapery modern." [Mti'/o/t.]
The three last-mentioned s[)ecimens, the description of which I

borrow from Newton, I was prevented from looking for.

I cannot identify :

234. (Maz. ?) Statue of Dionysos. Clarac, iv. 694 C,
1596 B. The god, quite nude, rests on his r. leg and looks at a
large bunch of grapes in his 1. hand; the r. hand, which likewise
holds a bunch of grapes, is supported on the stem of a tree. The
head has long curls and a wreath of ivy. About restorations nothing
known; I am disposed to believe that either the whole figure is
modern, or only the torso antique. H. abt. I'oo. Cf Inv. Maz.,
no. 58, " [/n Bacchus nud, couronne de feuilles de vignes, tenant uiie
grappe de raisins dans chaque main, haut de six palmes, on environ."

Besides these there are in Creed engravings of a number of
figures, undoubtedly for the most part modern, of which I cannot
give the numbers. I just mention them here without any com-
ment. PI. II, "Adonis;" 12 "Pandora" (Aphroditfe); 15 and 16,
"Acis and Galatea;" 20 and 21, "Persian captives;" 23, "Attis,
clothed as a woman;" 29, "Flora;" 30, "Apollo with a fine
glass;" 31, "Autumnus;" 32, "Bacchus and the young Silenus;"
38, " Shepherd ; " 44, " Mercury with wings, caduceus, and a purse;"
47, "Priest sacrificing a hog to Isis;" 49, "Andromeda" (Inv.
Maz., no. 106); 59, "Orpheus;" 63, "Manila Scantilla, bigger than
the life, sitting ; " 70, " Venus with a vase."

In former days there was at Wilton House a large collection of
Greek and Roman coins, which is thus spoken of in the Aedcs
Fembrochianae, p. 93: "No cabinet in Europe, in the possession of a
subject, is perhaps so richly stored with medals as that of Lord
Pembroke. Earl Thomas spared no pains or expense to complete
his collection of them." Cf Goede, England, v. p. 136. There
appeared a Catalogue of these, Nitmismata Pembrokiana, 1746,
which was republished in 1848 for the purpose of the sale which
then took place.

7l6 WiMlJLKDON I,

WIMBLEDON (Surrey).

I am indebted to Prof. Newton for the following notice :
"Near St Mary's Church in Wimbledon Park estate are a few
marbles which were originally in the house called Wimbledon Park,
once the property of Lord Spencer, and now belonging to Mr
Beaumont. It is supposed that they were brought from abroad by
a Lord Spencer who travelled at the beginning of this century. Of
these remains the only one of any interest is :

1. A circular cippus of white marble, in form like a pedestal
or altar, and about o'66 in diameter, round which seven draped
female figures are sculptured in relief. Three of these figures appear
to be dancing ; two of them join hands, the third advances from
the 1., holding out a wreath to the figure nearest to her. These
three figures wear mantles and talaric chitons raised so as to shew
the ankles. On the r. of this group are a pair of figures who carry
between them some object like a bowl or vessel with handles, which
one figure holds in the r. and the other in the 1. hand. This pair
wear talaric chitons and the diploidion. On the 1. behind the figure
holding out the wreath, is a sixth figure wearing a talaric chiton girt
at the waist and a diploidion with a mantle cast over the 1. shoulder.
There is a seventh figure, but, as the marble was lying on its side, I
could not see this. Above the dancing figure is the following inscrip-
tion :

ZnilYPOSznnYPOYTOXOIKON
ESTIAIKAITfilAAMDI.
The characters seem late [apparently of a good Roman epoch]. The
sculpture, which is very much damaged, seems to have been of a
good time. The drapery and pose of the dancing figures is slightly
hieratic. — Lying by this marble was a fluted drum from a Doric
column about 076 in diameter, in white marble. I was told that
the sculptured marble formerly stood on this fluted drum, which has
a firm joint at the top, shewing that something has been placed on it.
If the other marble stood on the fluted drum, it would seem that we
have here an example of a caclata columna, but it may have been only
an altar.

2. Lying near these marbles was the fragment of a relief,
exhibiting a reclining male figure, the lower half clothed ; the rudder
which he has held in his hand probably indicates an aquatic deity.
This fragment, which is much worn, is about ego long.

WIMBLEDON 3—5. WINDSOR CASTI.K I — 3. 717

3. The fragment of the bust of a draped figure, the mantle
drawn forward over the 1. shoulder. A socket shews that the head has
been of a separate piece of marble.

4. A large granite trough or laver roughly finished.

5. Several pieces of porphyry."

WINDSOR CASTLE (Berkshire).
Michaelis, Arch. Zeif., 1874, pp. 66 ff.

The single ancient sculpture in Windsor Castle stands at the end
of the long corridor :

I. Altar on which is a slain ram, very like the example in
the Vatican ^fon. Matth., 11. PI. 69. Afus. Pio-Clem., vii. PI. 33), which
Visconti thought was an unicorn. The animal is so placed on the
altar that his head and legs hang dow-n ; the collapse of the body in
the region of the stomach which this position induces is e.xcellently
portrayed. The entrails protrude from the stomach. The tufts of
the fleece are only flatly expressed. The altar itself is lower than the
one in the Vatican, and the round slab which lies on the latter is
missing. New : the head from the eyes downwards, the r. ear, half of
each of the four legs, and part of both supports which fasten them
to the altar. Good work ; at the back traces of earth are still visible.
Italian marble. H. 0-59. This altar w-as purchased from the property
left by Queen Charlotte. It was placed first in London at Carlton
House. I am informed by G. Scharf that, according to a MS. state-
ment by Mr Jutsham, at one time the inspector of Carlton House,
this specimen is probably derived from Herculaneum. [*]

Windsor Castle possesses also a fine collection of ancient and
modem gems, the most important specimens among which have
been edited and described by C. D. E. Fortnum, Archaeologia, vol.
XLV. A considerable portion of the collection was made by Consul
Smith at Venice, and purchased from him by King George III, cf
A. F. Gori, Dactyliotheca Smithiana, Ven. 1767, 11. Vols. Among
the antique stones the following deserve special mention :

2 (no. 180). A fine Oriental cameo of three strata, a fragment of
a head of Zeus Aigiochos. Dad. Smith., PI. i. Fortnum, PI. 2.

3 (no. 218). A sunk cameo, intaglio rilicTato, an excellent por-
trait of a beardless elderly Roman, the hair clipped xcry close, not

7l8 WINDSOR CASTLE 4, I. — IX».

unlike the portraits of the elder Scipio. Fortnum, PI. 2. Cf. Ber-
noulli, Rom. Ikonogr., i. p. 44.

4 (no. 242). A magnificent cameo in Oriental sardonyx of four
or five strata; 0-19 high, 0-15 broad : Emperor Claudius, crowned
with laurel, wearing a corslet and a small aegis, his sword (die
handle of which is an eagle's head) by his side and a sceptre or a
lance over his r. shoulder; he is looking to the 1. Fortnum, PI. i.
This is undoubtedly a contemporary portrait; according to C. W.
King {ArchcEolog. Journ., xviii. p. 312) it would be a portrait of
Constantius II. This cameo was already in the possession of
Charles I. when he was prince, and was then unfortunately "cracked
and broken by the Lady Somerset, when her husband was Lord
Chamberlain" (1613 — 1615).

Lastly, a large number of old Drawings of Antiques contained
in a series of volumes purchased by King George III., form a great
treasure of the R. Library. Woodward's conjectures as to their origin
{Genii. Mag., 1866, p. 29) can be proved to be almost in all cases
wrong. For shorter notices of them cf Conze, Arch. Am., 1864,
p. 240; Matz in the Nachrkhten der Gottitiger Qes. d. Wiss., 1872,
p. 65 (from notices by Helbig), and in the Arch. Zeit., 1873, P- 33 5
Michaelis, Ibid., 1874, p. 66 ; Duhn, Ant. Bildiverke in Rom, iii. pp.
290 fif. As a detailed account of the collection is to be given in
another place, a short notice will here suffice. The numbers added
in brackets are those of my notice, /. cit.

The main portion of those volumes come from the collection
of the Commendatore Cassiano dal Pozzo {d. 1657), and were pur-
chased for George III. in 1762 from Cardinal Alessandro Albani's
library (cf Introd. § 50). Among these may be reckoned certainly
the following volumes (i. — xvi.) :

I. — IX. (i.— IX.) " Bassi rilievi antichi." Large folio, bound com-
pletely in leather, and bearing the arms of George III. An unusu-
ally rich collection of bas reliefs, containing also in the last volume
statues, busts, etc. Some loose leaves have been bound in with the
book which do not come from Dal Pozzo's collection. This division
is completed by

ix». A number of loose sheets marked as having come
originally from Pietro Sante Bartoli, but that can hardly be the
case with all the leaves. They are nearly all from the Dal Pozzo
collection. (For other remains of this collection see under Hamilton
Palace. London, Frank.»:.)

WINDSOR CASTI.F. X. — XIX. /IQ

X. (xviii.) " Bassirilieii antkhi." The exterior is the same as
that of vol. I. — IX., only in a smaller form. 120 sheets with reliefs,
chiefly of sarcophagi, all sketched in pen and ink. The origin of this
collection is certainly earlier than the time of Dal Pozzo, who must
have obtained it as a whole.

XI. XII. (x. XI.) '■'■ Alosaici antichir The exterior is like that of
Vol. I. — IX. The inscription of these volumes would have been more
correctly " Christian antiquities."

The four following volumes (xiii. — xvi.) have still in its com-
pleteness the original exterior of the Dal Pozzo collection : vellum
binding and green edges.

xiii. (xii.) "Disegni di Varie An/ic/iita. A'ettiaw." This contains
220 sheets with illustrations from military, and domestic, and other
antiquities, with much that is modern interspersed ; further, wall
paintings, mosaics, &c.

XIV. (xiii.) "Z'w^v/[/] ^.7/f;-[i7]." Modern architectural designs,
nothing antique.

XV. (xiv.) " Architec\_ture\ Ciuil\i] Disegiiatc.'" Several views,
designs, details of ancient buildings in Rome and its vicinity ; also
some modern architecture.

XVI. (xv.) " Ar<:/iittrtu[re\ CiuilSf^et Mil\itari\.'" Plans, bird's-
eye views, &c. of modern architecture.

The two following volumes are also bound in vellum, but without
the green edges, and certainly do not come from the Dal Pozzo
collection :

XVII. (xviii.) " Disegni di Atifichi Colomhar[ii]. Farnese. S.
Gio[7'afini] Lafi\rano\. Villa Madama e Teatri di Parma e Roma.
R. R. 21." Besides many modern architectural pieces there are also
a few columbaria, for example, that of the freedmen of Livia, dis-
covered in 1726 (cf Wilton, no. 60).

XVIII. (xvii.) " Antic/iita Diucrse." In somewhat smaller form.
Illustrations of antiquities, taken for a great part from printed books.

The following volume was obtained from the Mead collection by
Prince Frederick or by George III. (Introd. § 29):

xix. (xxii.) " Pitture Antiche discYgnate] da Pid\ro\ Sanct\e
Bartoli\" Folio volume bound in leather, with the arms of the
Vittoria family and those of George III. The title-page runs thus :
" L antiche pitture, memorie raccolte dalle mine di Roma, espresse al'
eleganza vehista, nel museo di D. Vincenzo Vittoria Canonico di Xativa

720 WINDSOR CASTLE XX.— XXVII.

nel regno di Valenza. — L Architettura k inuentione, e Disegno del Eni^
Sig. Card'. Massimi. — Le Vittorie laterali sono disegnate da Pietro
Santi Bartoli." 112 leaves with wall paintings, greater part of them
the originals of different publications of Bartoli ; of great importance.
(Cf. Holkham, no. B.)

The four following volumes (xx. — xxiii.) also come from the two
Bartoli, Pietro and Francesco.

XX. "/ disegni originali della colonna Traiatm fatti da Pietro
Santi Bartoli" Leather volume in transverse folio, with George
III.'s arms. Very deHcate pen and ink sketches, signed here and
there with the name Pietro Sante Bartoli.

XXI. (xxi.) " Terence." Leather volume in large transverse folio,
with the arms of George II L Coloured copies of the miniatures of
the Vatican Terence, perhaps by Francesco Bartoli.

XXII. XXIII. (xix. XX.) "// Vergilio nel VaticanoJ' Leather
volume in small transverse folio, with the arms of George III. A
double set, first, pen and ink etchings by Pietro Sante Bartoli;
secondly, coloured copies, perhaps by the son, Francesco ; the latter
are not quite complete. Together making 106 leaves.

The following volumes complete the collection :

xxiv. '^Columna dicta Traiana. A viro excellenti Iulio Campi
Cremonensi noti sine magna labore Romae dum vivebat diligentissinte
delineata." Leather volume in transverse folio, with the name of
George III. ; in the inside are Consul Smith's arms. Giulio Campi
lived 1500 — 1572. It would be interesting to compare these drawings
with those made at about the same epoch by Girolamo Muziano
(1530 — 1590), which were engraved by Franc. Villamena and edited
by Alf. Ciaccone, Rome, 1576.

XXV. " Vestigia delle Terme di Tito e hvo interne pitture." Drawn
by Franc. Smugglewicz and painted by Carloni with very gay
colours, the original plates of the publication engraved by the latter.
The '^ Nozze Aldobrandijie" are added as plate 61. Leatlier volume
of very large size, with George III.'s arms.

xxvi. "Ancient Roman Architecture." Leather volume in large
folio, with George III.'s arms. 50 sheets with views and ground-
plans of Roman ruins, partly restored.

Finally, there is a volume belonging to the original treasures of
the royal house:

xxvii. (xxiii.) "Busts and Statues in White Haii. 'Gardkn."

WINION CASTLb:. WOBUKN AliB^:^•. 72 1

A folio volume, the back of which is vellum ; on the first page,
" Drawings of statues and Busts that were in the Palace at Whitehall
before it was burnt. Preserved by S'' John Stanley Bart, who belonged
to the Lord Chaniberlayne's office at the time the Palace was burnt
down." The fire occurred on the 4th Jan., 1698. For particulars
about this volume, cf. Introd. §| 18, 19.

WINTON CASTLK (Scotland).

Lady Ruthven, the owner of this Castle, which is not far from
Edinburgh, lived for a long time at Athens in the third decade of the
present century. She brought hence a number of antiquities (cf.
Introd. § 88). I take the following particulars from a letter sent 10
Prof. Conze by ^[r A. S. Murray (for fuller account see Addenda):

1. Greek sepulchral stele, tall, representing a female figure
in a slightly archaic manner, and inscribed 'Apio-To/xa'xi;.

2. Greek sepulchral stele. Of the Roman period, and
inscribed with Roman names.

Lady Ruthven has also a pretty large collection of vases ob-
tained from tombs near Athens, w-hich she opened about fifty years
ago. Two or three of the vases bear archaic geometric patterns.

WOBURN ABBEY (Bedfordshire).

Outline Engravings and Descriptions of the Wobiirn Abbey Marbles,
1822, fol. (The letterpress is by Dr Hunt, who was at one time Lord
Elgin's chaplain, and at that period Dean of Holkham; the drawings
are by Moses and Corbould.) Catalogue of the Marbles, Bronzes,
Terre-cotte, and Casts, in the Sculpture Gallery c^c. at JVoburn Abbey.
London, 1828 (short notes, printed again with new numbering and
some additions, 1867). Waagen, Treas., in. pp. 463, 467 ff. (11. pp.
545, 551 ff.). Conze, Arch. Ans., 1864, p. 211 ff. Ma-tz, Arch. Zeit.,
'873> P- 3°- Michaelis, Ibid., 1874, pp. 68 ff.— I visited the collec-
tion in 1873 and 1877. The numbers in the following catalogue are
those of the Catalogue of 1867; in parentheses I have added the
numbers of the first edition, published in 1828; the numbers omitted
apply to modern specimens.

The idea of adorning Bedford House, the town residence of the
DuKKS OF Bedford, with antique sculptures, originated with Francis,
M. C. 46

722 WOBURN ABBEY.

Marquis of Tavistock {d. 1767), the father of Francis the fifth Duke;
though he only carried out his idea to a very small extent (nos. 171,
210; cf. Introd. p. 83). The Gallery in Woburn Abbey, which is
most magnificent, was first erected in 1789 as a conservatory by
Duke Francis (duke from 177 1 — 1802). It is about 42 metres long
and 7^ wide, and is lighted by eight immense windows, which have a
view over the garden and park. In the centre of the gallery is a
cupola supported by eight antique columns of costly kinds of marble;
opposite the door is a semicircular recess (here stands no. loi).
At either extremity of the gallery stand the Temple of Liberty, with
the busts of the principal Whig leaders (at the entrance, nos. 153,
154), and the Temple of the Graces, with Canova's group of these
goddesses. The room was finished in this way and adapted to the
purposes of a Sculpture Gallery in 1820 by John Russell, sixth
Duke of Bedford (duke from 1802 — 1839), to whose zeal Woburn
Abbey is also indebted for the main contents of the Gallery ; for his
predecessor had only collected a very few sculptures (nos. 61, loi)
besides purchasing some vases at Lord Cawdor's sale in 1800. In
1815 the new duke visited Italy and returned home with rich booty;
particularly worthy of notice are the six large reliefs from the Villa
Aldobrandini in Frascati (nos. 58, 69, 86, no, 117, 144) which are an
unusual ornament for an English museum. " Not without difficulty,"
that is, probably, not without payment of handsome douceurs, was
the papal permission obtained for the transport of the treasure to
England. Other valuables were furnished either by excavations made
at the time (for example nos. 104, 147, 204), or by the liberality of
members of princely houses to the head of the Russell family (no.
128), or by the art dealers (nos. 99, 107, 205). After the duke's
return the purchases were continued (nos. 59, 77, 141, 198), among
which must be mentioned as specially valuable the Ephesian sarco-
phagus with the story of Achilleus (no. 219). Friends and relations
of the family made presents ; Lord George William Russell and Sir
George Hayter presented a collection of small bronzes. Lord Holland
gave a beautiful statue (no. 201). To complete the collection the
duke obtained some very fine modern sculptures by Canova, Thorvald-
sen, Chantrey, and Westmacott ; and as these specimens were placed
in the same room with the antiques, a comparison is involuntarily
instituted between ancient and modern art. A picture of the gallery
thus furnished may be seen in Robinson's Vitruvius Britannicus :
History of Woburn Abbey, London, 1833, PL 4. In 1822 the duke
had ordered engravings to be made of the choicest specimens,

WOUUUN AliliKV 32 — 5S. 723

arranged with the help of Dr Hunt (Introd. § 75). They formed a
magnificent work, which was only distributed among friends {En-
graviiigs. Sec, see above). The collection has since then been
increased by some additions, though not very many (for example nos.
Ill, 239, 240, 257 — 259). Cf. Introd. § 86.

32 {23, at the back of the Temple of the (kaccs). Bust of
the Empress Julia.

33 (34, in the outer wall, near the entrance of the Sculpture
Gallery). Medallion, in marble, of the Emperor Vespasian.

34 (35, /''"'"'•)• Do. of the Emperor Hadrian.
35. Bust of Homer.

AVith regard to these four numbers I cannot say whether they are
antique or new.

36 — 42. Various architectural fragments of rosso antico.
Found at Hadrian's Villa.

50. Ancient sculptured altar, forming the pedestal of the
Group of the Graces by Canova.

54 (232). Bust of Agrippa (?). Head and upper part of r.
arm have been broken oft". Over life size. Appears to be modern. [*]
55. Empress, seated, restored as a Ceres. She wears chiton
and cloak, and her head is not veiled. Head, on which is the
stephane, has been mended in many places. New : neck, r. forearm
with ears of wheat in the hand, 1. hand. A poor statue, much
repaired. H. I'SS. [*]

56 (63). Front of an ara or a cippus, with a moulding at the
top and bottom, and cut off on both sides. A garland with berries
traverses the middle of the relief. Above this garland lies a bearded
Seilenos, his legs covered with a cloak, stretched out comfortably
on an ass, which stands quietly facing r. with its head lowered.
Below the garland is the Roman she-wolf with the twin brothers.
Elegant high relief. H. o-56. 1.. 0-29. [*C]

58 (59). Fragments of a sarcophagus : Phaedra and
Hippolytos. Engravings, PI. 13. Made up of two pieces, which
appear to belong to the same sarcophagus, but which were not
originally put together in the same way. Left part (probably a
fragment of the front). Phaedra sits in the centre, looking r., in a
girdled chiton that has slipped down from her r. shoulder ; a cloak
conceals her legs and the chair, an apparently separate piece of
drapery veils her head and back, and is held by her upraised
1. hand (forearm restored). Behind Phaedra to the r., a young

46— 2

7-4 WOBURN ABBEY 59—61.

female servant is partly visible, she seems to be arranging the veil on
her mistress' head with her r. hand, and on the other side is an old
nurse in chiton and cap who clasps Phaedra round the waist. Both
Phaedra and the nurse are looking back to the 1., where stands a
youth (Hippolytos), seen in full face. He wears a chlamys; the
sword-belt goes across his breast, his r. hand grasps the hilt
of his sword, and before his 1. shoulder is a piece of a lance
which by the restorer has been transformed into a slender club (1.
forearm new). Hippolytos turns his face (partly restored) towards
a youth who is standing on the extreme 1. ; he has a chlamys on his
1. shoulder and over his 1. arm; this figure has been sawn through
in the middle. To the r. of Phaedra stands a similar youth, looking 1. ;
the chlamys hangs from his neck down his back. The lowered r.
forearm with the thin club, the body and parts of the legs are new.
With his 1. hand he holds the bridle of a horse, but of the horse only
the head remains. — Right part (apparently one of the sides).
Five youths, all seen full face, and all nude except for the chlamys.
Counting from the 1., on the first the r. arm, both thighs, 1. forearm
with the thin club are new. The second holds the shaft of a lance in
his upraised r. hand, and with his 1. the bridle of a horse, the head
of which only is visible (slight restorations). On the third figure
(Hippolytos?) the 1. hand and all the club are new; the fourth only
appears in the background; the fifth has a new head and r. forearm,
which is raised. I have passed over more insignificant repairs.— The
vastness of the dimensions, the clearness of the composition, and the
grand style of sculpture remind us of the treatment of the same
subject on the sarcophagi at Girgenti {Arch. Zeit., 1847, PI- 5. 6) and
in St Petersburg {Moti. deW Inst., vi. 1—3). H. i-ig. L. 2-82
(1-31 + 1-47). Formerly in the Villa Aldobrandini in Frascati.
\*CM]V\

59 (69). Bust of Marcus Aurelius. Engr. PI. 25, 2. New :
nose, part of drapery ; neck has been mended. Life size. Bought
by Westmacott. [*]

61 (64). Front of a sarcophagus: Bacchanalian proces-
sion. Engl-., PI. 12. The proces.sion moves from 1. to r. In
the very front stands a Maenad in a chiton, beating the tympanon;
a second moves to the r., in a chiton, with the cloak thrown round her
legs ; she originally blew a flute ; in the background a smaller figure
of a girl, who has a round box on her head and carries a staff in her
1. hand. Then follows the inebriated Seilenos, only very partially
covered by his cloak ; he has a cup (? disc ?) in his 1. hand and a

WuliL'RN AHliEV 62—68. 725

■wreath in his r. ; he is sitting on an ass, supported on either side by a
young Satyr ; on the ground lie a huge panther and a wine skin. Then
follows the bearded Pan, skipping with his goat's legs over a cista,
under the opened lid of which crawls forth a snake. Next, the chariot
of Dionysos, drawn by two panthers ; on one panther sits a Cupid with
his lyre ; a second Cupid in the chariot is guiding the animals ; the
youthful god himself, only partially covered by his cloak, is reclining in
the lap of a draped female figure (.Vriadne?) ; his 1. arm is thrown
round her neck, his r. lies on his own head. Partly concealed by
the chariot and the panthers, run beside it a Satyr in a chlamys, a
figure with a fan (XiKror, vaiiiius) on the head and a thyrsos (?) in the
hand, a bearded Seilenos striking cymbals together over his head, a
bearded Pan with the pedum. Behind the chariot dances a Satyr
with his r. leg much elevated ; he lifts his 1. hand to his forehead
(ajTocTKOTevct). PI. 0-59. L. 2 '09. This marble was brought by
Lord Cawdor from Sicily, where it had been used as the front of a
cistern to a public fountain ; consequently the whole monument is
much injured by the action of the water, though the original e,\cel-
lence of the composition and work is still to be discerned. [*CMIV]

62 (65). Mask. i:ngr., PI. 27, 2. Beardless, of tragic ex-
pression, with a Phrygian cap, the peak of which is much bent.
New : nose. H. 0-29. [*]

63 (66). Bust of a child with curly hair. New : nose and
bust. Life size. [*B]

64 (67). Bust of a boy, designated without warrant as Nero.
New: tip of nose and bust. Life size. [*^]

65 (68). Head of an Egyptian deity.

66(57). Bust of Trajan. New : nose, ears, part of the back of
the head, neck ; the mailed bust with Medusa's head is for the most
part antique, but does not belong to the head. Life size. [*.B]

67 (7°)- Terminal head, named "Lycurgus." Artr/i. Anz.,
1864, PI. A, 2 (Conze). The head is beardless, and its most remark-
able feature is the r. eye, which is made so small as to shew that the
head was certainly meant to represent some one with one eye. The
mouth, too, is crooked and ugly. Neck and bust and nose have
been restored ; the other part, which is of coarse grained marble, is
superficially treated, the hair in quite an unusual style. The head may
after all be antique, but is at least open to grave suspicion. L. of face
022. [*C]

68 (71). Architectural fragment, part of the side post of
a door {antepapnaiium), or of a pilaster or something of the

726 WOBURN ABBEY 69 — "jy.

kin<l. Vine sprays are trained upwards, and among them on a
large basket stand two Cupids, picking fruit. Delicate and elegant.
H. 0-24. L. 0-15. Cf. no. 76. [*]

69 (72). Large relief. Engr., PI. 11. A winged griffin, with
a head like a Hon's, except that it has horns, has sprung from the
r. on to the back of stag, which the violence of the shock has
thrown to the ground, and is driving its fore-claws into the stag's
neck. To the 1. a tree bearing fruit (apple tree ?). Above, a cornice
with rich mouldings, to the r. and underneath, a small border.
Certainly not a metope. Hardly restored at all. H. 0-93. L. 1-28.
From the Villa Aldobrandini in Frascati. \^M\

71. Fragment of a sarcophagus, representing Achilleus
at Skyros (cf. no. 117). The fragment comprises only the stomach
and the legs of Achilleus, dressed in a female chiton, hurrying 1., his
r. leg coming forth nude from his drapery. Somewhat injured about
the abdomen. Good sculpture. H. o-66. [*CAf]

74 (80). Fragment of a relief, a woman in short drapery,
either Artemis or an Amazon, hurrying r. Both thighs covered
with the drapery, the r. knee drawn back, and the lower part of
the advanced 1. leg to the ankle are preserved. The back of the
fragment is flat and roughly cut ; the specimen was evidently in-
tended, like the figures from the frieze of the temple of Polias in
Athens, to be fastened by the back on to a slab. Greek work of
a good period. H. 0-45. [C]

75 (86). Terminal head of Poseidon. The face is some-
what raised ; its expression sad and disturbed. The hair is raised up
over the forehead in two divisions and then falls long down. The
beard is more entangled and less dank. A fillet passes through the
hair. The head is in perfect preservation, the terminal bust is new.
Marble with grey stripes. L. of face cig. [*]

76 (87). Architectural fragment, with delicate sprays, finely
executed, belonging to no. 68. A groove runs along one side, shewing
that the piece was to have been joined to something; on the other
side is an astragalos. H. 0-26. L. 0.15. [*].

76^ Architectural fragment, of Greek execution, finely
treated. Portions only of two flowers connected by a spray are
preserved, the one on the 1. turned upwards, the one on the r. down-
wards. Below, a light border; the upper part injured. H. o'lo. [C]

77 (78). Bust of Septimius Severus. Engr., PI. 24, 2.
The emperor is represented of a rather youthful age. New : nose,
chief part of the beard, the corslet with the paludamenlum and the

WOBL'KN AlilSKV 78 — 8 I. 727

clasp on which is the inscription nee spe nee inetu. Life size. Bought
from Westmacott. [*j5]

78 (83). Terminal head of Claudius (??), the hair growing
deep down in the bark of tlie neck. New : nose and bust. Beli^w
life size. To me the genuineness of the head appeared doubtful.

79 (84). Head of a Roman lady, of the first century,
perhaps Antonia (Bernoulli). Her wavy hair is concealed by a
veil ; her face youthful, but the expression grave. New : nose ; the
rest composed of several pieces. [*-5]

80 (85). Bust of Herakles. Eiig,r., PI. 27, i. Small head
adorned with a wreath of poplar. New : nose, neck and bust.
H. of head 0-27. [*]

81(82). Front of a sarcophagus: Kalydonian hunt.
Eiigr., PI. 10. The sarcophagus is akin to the one in Broadlands
(no. 21) and aftother one in Richmond (no. 57), and except for a
few unimportant repairs, is in excellent preservation. To the 1. in
front of the arched doorway stands (a) the bearded Oeneus in chiton
and cloak ; his 1. hand holding his cloak, his r. the sceptre. Near
him steps forward in the background (b) a youthful follower (Sopu-
<f>6po^) with chlamys and spear, a fillet in his hair, and looking up
to the r. (e) Artemis advances in the same direction, her cloak
broadly girt round her short chiton, holding her spear in both
hands ; beside her a dog. The fashion of her hair is maidenly,
and she turns her head back to the r., where (d) a long-bearded
man, looking at Oeneus, is visible in the rear. Then (e) the
powerful form of Ankaeos starts for the hunt, in a lion's skin, a
fillet in his tangled hair and grasping his double axe. Before him
(/> £) go the Dioskuroi with egg-shaped hats, chlamys and spear ;
g is seen full face. Further to the r. in the background (//) a man
with a long beard like d moves r. ; in front of him is (/) Meleagros,
with a fillet in the hair and a chlamys, couching his spear ready for the
boar ; beside him is {/:) Atalante, draped like Artemis, holding out
her bow in her 1. hand and drawing an arrow from her quiver with
her r. One dog is barking at the boar, a second attacks his r. fore-
leg, beside it is a marsh plant. The large boar (/) advances from his
den, which is only indicated by a line, of rock ; near him on the ground
lies (/«) a bearded man, wounded, in chiton, chlamys, sword-belt, and
boots ; supporting himself on his 1. arm. Over the edge of the
den we see the upper part of the body of («) a youth in a chlamys,
poising his spear, and {0) a second youth, in a chlamys, with two

728 WOBURN ABBEV 82—86.

spears in his 1. arm and throwing a stone with his upraised r. hand.
Then comes a tree. To the r. of the tree, seen from the rear, stands
(/) a youth in a chlamys, holding one spear in his 1. hand and
brandishing another with his r. The procession is closed by (q) a
bearded man, standing, with his sword at his side, the chlamys on
his back, supporting himself with his 1. hand on a spear, placed
perpendicularly. This spear serves as a frame for the whole scene.
The man lays his r. hand on his wounded thigh and is looking back
at the boar. The figures are treated in high or low relief accord-
ing to their position in the foreground or the background. H. 0-54.
L. 2-12. Possibly this sarcophagus was once inserted into the wall
along the large stairs leading to S. Maria in Araceli ; at least a descrip-
tion by Pirro Ligorio (Cod. Neapol. xm. B, 10), who saw such a slab
at that place, appears to be favourable to such a conjecture (cf. on no.
117). The relief was still at that place in 1736, as is shewn by Casi-
miro Romano, Memorie istoriche della chiesa di S. Maria in Araceli,
p. 28. (I am indebted to Dr Dessau for these notices from Rome.)
If this conjecture is right, the slab may belong to those purchased
from the Villa Aldobrandini, though there is no record of such an
origin. \^MW\

82 (183). Cupid sleeping.

85 (175)- Bust of Antoninus Pius. A poor work, and much
patched (new : nose, pieces on the eyes, and beard). The corslet, which
has traces of red colouring, is bad, but apparently belongs to the
bust. Over hfe size. [*^]

86 (89). Front of a sarcophagus : Selene and Endy-
mion. Engr., PI. 9. An early drawing in the Cod. Coburg, no.
167 M. = Cod. Pigh., no. 176 J. The central object is the chariot
of Artemis adorned with sprays of vine and drawn by two champing
chargers turning to the 1. A little boy in a chlamys, standing with
his 1. foot on the back of one of the horses, holds the bridle in his
1. hand and flourishes the whip with his r.; a winged boy (new :
upper part of his body and torch in his r. hand) seems also to be
occupied in trying to control the horses, and a large winged female
iigure (Hora) in a short, girdled chiton standing before the horses is
grasping the bit of the r. horse. Over her we see a third Cupid with
a torch (head, 1. wing and 1. arm new). Selene; (her features intended
probably to be a portrait) is stepping down r. from the chariot, in
girdled chiton, a crescent behind her shoulders, holding her veil,
which waves like an arch over and behind her head, with both hands;
her look is directed to Endymion. She is guided to him by a winged

WOIiUkX ABBKV S6.

•29

youth (Eros?), draped in a chlamys, holding up a long torch with both
hands, and looking back at the goddess. A similar form, without wings,
appears as the companion of Selent: behind her r. shoulder and above
the horse (both forearms and the torch restored). Between the legs of
the wnged youth sits a dog looking up. On the ground to the r. lies
Endymion, in chiton and cloak, supporting himself on his 1. arm, in
which he holds two staves that ha\'e been restored at the top and
which were probably spears originally; he lays his r. hand on his
head. The features of his face are only blocked out, as they were
intended to be replaced later by a portrait of the deceased. The
youthful Hypnos, with half-closed eyes, is bending over him; he is
clothed in a chlamys and has butterflies' wings, and holds in his 1.
arm a bunch of poppies; three parts of his advanced r. arm and the
cup are new. No doubt he was originally shown dropping juice from
his miraculous horn on to the sleeper. In front of Hypnos and quite
on the border to the r. stand two boys, each with a torch; of the one
the head, r. arm and torch are new, and the other is entirely restored
except his feet and the lower half of the torch. Above the latter
boy sits another dog. High up in the r. hand corner is a group of
two half-nude Naiades standing, one supporting herself against an urn
from which water runs, the second embracing the first and holding a
reed in her 1. hand. — To their 1., on the upper border, Selene (con-
ceived purely as a heavenly body and quite distinct from the goddess
in the principal scene) is guiding her chariot, which is drawn to the r.
by two cows; she wears a chiton, a flowing cloak and is crowned with
the crescent. To the 1. of Selena's veil, between it and the head of
the youth without wings, appears the upper part of the body of a
small boy; in the old drawing he holds a torch, he is therefore doubt-
less intended for Phosphoros. He is looking 1., where on the other
side of the youth just named, the youthful Helios, in a long chiton
with sleeves, is guiding his chariot, drawn by four horses, to the r. on
the firmament. — The 1. end of the sarcophagus is devoted to a
scene of shepherd life. The rocky ground is carried up to the top
and is entirely covered by a very numerous flock of sheep, among
which are a few cows. Quite at the top sits a young mountain god,
a branch in his r. arm, the lower part of his body concealed by his
cloak; he is listening to a nymph in a chiton who is standing in front
of him supporting herself on his knee. A bearded shepherd of much
larger proportions sits below beside a tree ; he wears the exomis and
boots and a bag slung across his breast; on the ground beside him lies
a goblet (?). He stretches out his r. hand to a dog sitting opposite

730 WOBURX ABBEY 89 — 96. '

to him; almost the entire arm and the bread in the hand have been
restored. Further to the r., under Selenfe's horses, Hes Tellus on
the ground, the upper part of her body nude, supporting herself on a
basket (?). Her head, the ears of wheat in her r. hand, and the 1.
with the cornucopiae are all new. Tellus is surrounded by four boys
(the Seasons?), of whom one (much restored), standing at her back,
holds a plant, two are placed under the belly of the horses, the
fourth, at their feet, near the wheel of the chariot, is playing with a
sheep. — Some smaller restorations have been passed over in this
description. — This very large and high sarcophagus belongs to that
class which is remarkable for picturesque composition, and in which
an abundance of secondary figures confuses the principal scene;
only difference in size between the principal and these accessory
figures serves in some degree to keep the main theme clearly
in view. H. I'ly. L. 2'39. From the Villa Aldobrandini in Fras-
cati. [*CMIF]

89 (231). Bust, designated " Cato." Modern copy of a spare
head, with a wide mouth and overhanging brow, which reminds us
somewhat of Caesar. [*-B]

92 (180). Votive disk. Cupid reposing on a doe. Perhaps
new. [*]

93 (98). Sculptured tazza.

94 (177)- Round disk, in form like a shield. Engr., PI. 28, 3.
Eearded Bacchic head with brutish ears and Amnion's horns, a fillet
passed over the forehead and through the curly hair ; usually entitled
Ammon. Greyish marble. Diameter about 0-30. [*]

95 (99). Small pilaster, designed for an angle, delicately
sculptured on two adjacent sides. In perfect preservation. The
piece may possibly be referred to the Cinquecento period. H. 071.
Br. each o'i4. [*]

96 (100). Relief. A powerful, nude male figure, facing 1., kneels
on the ground; his \. foot touching the ground, his r. thigh horizontal,
the r. foot drawn back so that the toes just touch the ground. The
upper part of the body is bent very far forwards, both arms advanced,
the r. horizontally, the 1. more lowered. New: upper part of the back,
part of the r. forearm and both hands with a hatchet, which is held
perpendicularly, and which accounts for the title : " A slave working
in a mine or quarry." The position however is too insecure for any
such employment; in this case the r. foot should be advanced and
placed firmly on the ground. It is more likely that the man supported
himself by his arms against something, or that he was trying to reach

WOBURN ABBKV too (103).

WOBUKX AUliKV 97 — lOO. 731

something. Good powerful work, tolerably high relief. H. 050.
L. 073. (The genuine portion h. o'34, 1. o'6o). [*<^']

97 (95). Bust of Marcus Aurelius, youthful, without beard.
New : nose, parts of both ears, bust. [*i')']

98 (loi). Relief of Harpokrates. He is represented as a
child, seen in full face, resting on the r. leg. Over the forehead the
remains of a peculiar ornament ; hair curly. He lays the fore-finger
of his r. hand on his mouth. In the 1. arm he holds a cornucopiae
with grapes and other fruits ; his chlamys is flung over his arm. On
his feet he wears sandals with broad thongs. Commonplace work.
H.o-65. L.o-39. [*C]

99 (102). Relief with the Evil Eye. Hn^'r., PI. 14. ArcJiaeo-
logia, XIX. p. 70, Plate (J. Millingen). Berkhte d. sacks. Ges., r855, PI.
3, I ; pp. 28 tf. (O. Jahn). In the centre the evil eye (Ital. maloahid) is
represented, attacked from all sides, that its evil influence may be over-
come. A man in a Phrygian cap, seen from the back, crouches abo\e
the eyebrow ; his action is one which undoubtedly indicates con-
tempt. In the upper corner at the r. stands a gladiator (retiarius) in
an apron, pointing his trident at the eye, against which below approach
in a circle a lion, a snake, a scorpion, a crane and a raven, all
animals which were usually supposed to have the power of averting evil.
The r. top corner is broken off; comparing this composition with a
golden amulet found in Mayence, in all essentials a replica of it {Arch.
Zcif., 1874, p. 69), we think that in this case too there must once
have been a second gladiator (inurmiUo) attacking the eye with his
sword. On three sides, a simple frame is preserved. Rather coarse
work ; greyish marble. It is probable that this relief was let into a
wall or some similar place, that it might serve as a charm against
evil looks and similar magic influences {diroTpoiraiov, -KpopaaKdviov).
11.0-30. L. 0-255. Bought from J. Millingen. [* W\

100 (103). Relief of a Greek girl ("Sappho "). Engraved
by itself, probably in the beginning of our century by Gio. Franc.
Ferrero in Rome. See annexed woodcut The field is framed
by a simple square listel, and is quite filled by a female figure
stepping 1. in a chiton, completely enveloped in her wide cloak.
Her r. forearm lies before her breast, causing her elbow to stand out
rather awkwardly from the lines of the figure ; unless the r. hand be
meant, which, however, would involve no less incorrectness of draw-
ing. A kind of cap (ppisthosphendonc) conceals the back of her head.
The countenance is somewhat severe in shape; nose large, chin
high, eye flat and not 'luite correctly drawn. The treatment of the

732 WUIiURX ABBL.V lOI.

surface is very delicate, the folds of the drapery excellently composed
and executed. Here and there we observe a slight lack of skilful-
ness, for example in the back outline of the 1. leg; close to that
again are very fine details, and the general effect conveys perfect
maidenly grace. Attic relief, dating probably about the end of the
fifth century; perhaps sepulchral, although the framing is vniusual.
Light yellowish Pentelic marble of the finest quality. H. 079. L.
o'37. The height of the relief above the field only reaches o-oi. [*C]
loi (104). Lante vase. £//sr., PL 15, 16. Piranesi, Vasi,
&c., I. PI. 42, 43. Moses, Co//, of Vases, PI. 35. On a pedestal
o-8o m. high stands the vessel, somewhat full bodied; it tapers
a little towards the top and then terminates in a broad rim; two
handles (much mended, but for the chief part antique) unite the
rim with the main body of the vase. On either side it is orna-
mented with four Bacchic masks in very high relief, excellently con-
ceived and well and delicately executed. The heads are as follows.
First side, (i) Bearded daemon with snub nose (o-t/Ao?), rough hair
sticking up, ears covered; much restored. (2) Seilenos, bald-headed
and crowned with ivy; tip of nose and moustaches new. (3) Bearded
head, somewhat ideal in form, hair and horns concealed by a hand-
kerchief; nose new. (4) Youthful Pan, with pointed ears, two
tolerably long horns and a large tuft of hair between them, long
hair; tip of nose and upper lip new. Second side. (5) Similar
head with short horns, grinning ; tip of nose, mouth, chin, r.
cheek, restored. (6) Seilenos bald-headed, with a small curl on
his forehead, long beard and pointed ears ; tip of nose and upper
lip new. (7) More noble head with round beard, flat nose and
pointed ears, but with earnest expression and more refined character,
crowned with pine leaves; tip of nose and parts of 1. cheek new.
(8) Pan, with horns, a long beard, pointed ears, very snub nose,
and with a brutish grin ; the horns new except the stumps. Im-
portant portions of the upper border have been restored; the pedestal
is likewise new. The marble which is not Parian, is of good fine
grain with blackish stripes. H. 177. Diameter r'Qo. This vase,
which on account of its size, its tasteful form and ornamentation and
its excellent work deserves the fame it enjoys, was found, in fragments,
during excavations made in the ruins of Hadrian's Villa. From
thence it passed into the collection of the Villa Lante, on Mount
Gianicolo. It was afterwards purchased by Volpato, from whom it
passed into the possession of Jenkins {Account of tJie Statues, g>y., at
hue, p. 7), of whom it was bought by Lord Cawdor, and at his sale

WOHL'KN ABIil-.V I02 — IIO. 733

(1800) by John, Duke of Bedford, for jC7°°- ^ copy, reduced to
one half the original size, by B. Lange is to be found in the Louvre
(Clarac, II. 145, 134).' [*"'j

102 (94). Young Roman, beardless, wrongly designated
"Augustus"; not of the imperial family but probably belonging
to the first century a.d. New: nose, upper lip, lobes of the ears,
neck and bust. Larger than life. [*y^]

104 (106). Oval sarcophagus. Engr., PI. 46, i. Front
fluted. \n the centre a barrel. At either end a lion tearing a
boar. The lid, in the form of a tiled roof, has in front a slab
on which is this inscription : Eusebie filiae \ parentes \ contra votum.
On the top along the flat ridge of the roof: Faustina, (this word,
which is only scratched in, was apparently added later) dcposita xiii
Kal. Sep. Late work. "Found in a sepulchre lately discovered in
an excavation made near the Via Appia, at Rome." {Engravings).
Cf. on no. 204. L. 1-15. H. 0-42. \^M'\

105(107). Fragment of the lid of a sarcophagus. Large
mask with ruffled hair. From the 1. end of the lid. [*]

107 (196). Bust of Trajan. Engr., PL 26, i. This repre-
sentation of the Emperor is so unusually youthful that we are
justified in doubting whether it is meant for him. New : nose,
patches on the 1. eye and 1. ear, pans of tlie neck and draper)'.
Life size. Bought of Camuccini. [*ji'']

108 (152). Bust of Tiberius, youthful, on a bust of oriental
alabaster (antique ?). New : tip of nose and neck. Life size. \^E\

109 (no). Bust of Aelius Verus, or more likely of some
similar person. Engr., PI. 25, i. The beard is smooth and short,
the curly hair runs forward. No restorations. Life size. [*j5]

110 (in). Front of a sarcophagus: Kalydonian hunt.
Engr., PI. 8. An early drawing of it is to be found in the Cod.
Coburg., no. 218 M. Cod. Pigh., no. 214 J. ; another, incomplete
and roughly executed, in Windsor (vol. x. fol. 47) with the name
of the place where it was then to be found given, '■'■ Ai Forcari,"
i.e. in the house of Giulio Porcaro near the church of S. Maria
sopra Minerva, where Aldroandi saw the sarcophagus in the year
1550 (see L. Mauro, Antichita di Roma, 1556, p. 242). The
subject is divided into two scenes. Left scene. Meleagros, wear-
ing only a chlamys, is pressing forward from the 1., and lowering
his spear at the boar, which crouches on the ground. Atalantc,
in boots and a short chiton with a broad girdle, and the quiver on
her shoulder, is drawing her bow at the boar. Behind Meleagros

734 WOBURN ABBEV III.

may be seen a bearded man in boots, with a short chiton and
his chlamys floating in the wind; he wields a broad sword in his
upraised r. hand and in his 1. he holds a lance. Near Atalante, but
more in the background, is a similar man, raising his r. hand and
holding a cloth in his I. as was the custom at boar hunts (ct^a-n'?,
Pollux 4, 1 1 6). Above the boar on a champing steed that has a
skin for a horse-cloth, gallops a youth in chiton, chlamys and high
boots; he is turning round and driving his sword into the boar. By
a bad arrangement of the figures this youth occupies the central
place as though he, and not Meleagros, were the principal actor.
A youth in chiton, chlamys and boots is hurrying up beside the
horse ; he is raising his r. hand and turning his head back. Three
dogs complete the hunting scene, the first standing between Melea-
gros' legs, the second in front of the boar, barking at him, the third
tugging at the 1. ear of the boar. —Right scene. Atalante in chiton
and boots is standing with her legs crossed ; she bears the great
boar's head in her hands (her head and the fillet of victory have
been restored). In front of her stands a small Eros without wings,
in chlamys and shoes, advancing his r. arm towards Atalante, at
whom he is looking, and supporting his torch on the ground with his
1. hand. Behind him in the background stands a hunter in chiton,
chlamys and boots; his 1. hand holds his spear, his r. hand, raised in
a warning attitude, is restored. His gaze is directed towards Melea-
gros, who stands at the extreme r., looking away from the scene
in a posture of challenge, with his r. arm akimbo, his 1. hand on
his lance, his chlamys hanging behind his back, beside him is a dog.
It is uncertain whether this end of the sarcophagus is complete.
The work has been very much restored, mainly perhaps owing
to the remarkably high relief; Eros, for instance, is worked almost
in the round like a statue. All the heads are new except Atalante's
in the first scene, and that of the bearded man beside her; also
many limbs and attributes; but there can be scarcely any doubt
that the restorations are correct. Poor sculpture. From the Villa
Aldobrandini, in Frascati, whither it had been brought from the
above-named place. H. 0-59. L. 2-25. [*CM1V]

III. Statue of Minerva, without head. Archacologia, xxxii.
PI. 4, p. 14. The goddess rests on her 1. leg. She wears, besides
the chiton, a cloak which covers her 1. shoulder and the upper
part of the arm, her back, hips and thighs, the end falling over
her 1. forearm, which is advanced in a downward direction. She
wears no aegis, but instead of it there is on the breast a large oval

WOlJfKN AlJliKV 114— 117. 735

ornament, jagged round the edges and formed like a rosette, which
takes the place of the Medusa's head. Her 1. hand rests on a
large round shield (partly broken). This shield stands on a pear-
shaped support, which is on a square pedestal ; a snake is coiling
itself upwards on the outside of the shield. Only the upper part
of the r. arm preserved, with a part of the spear which rests
perpendicularly in front of the shoulder. On the hips and the
calf of the leg traces of joints are preserved ; the first one was
intended for the r. hand, which is intact, but separated, and which
rests on an owl ; in this hand a piece of the shaft of the lance is
visible. Very rough work, of a coarse shelly stone, much corroded.
Found at Sibson. Nearly life size. [*C]

114 (117). Small male torso, legs and 1. arm in a cloak,
stepping vigorously to the r. The 1. foot is lifted high, and near it is a
support like a basket. Head missing ; also the r. arm which was
held up, three parts of the 1. arm which is slightly lowered, and the
feet H. 0-33. [*]

115(118). Bust of a little child, a year or two old. Broken,
but entirely antique. H. 0-30. L. of face o'i2. [*]

116(119). Torso of an Aphrodite, nude, resting on her
1. leg; her 1. hand covered her lap, her r. arm was lowered. Head is
missing, also the r. arm, half the 1. forearm, lower part of the r. leg,
three parts of the 1. leg. H. 0-34. [*]

117(121). Front of a sarcophagus: Achilleus at Skyros.
Engr., PI. 7. Winckelmann, Mon. liied., before the preface. An early
drawing without restorations in the Cod. Coburg., no. 203 M. ; a
rough, arbitrary sketch in \Vind.sor (vol. x. fol. 75) with the name .
of the place where it then was to be found given, "Araceli." This
short notice is explained by the fact that in former times there were
" ne la scala della chiesa di Araceli attaccate per le mura delle sue
sponde, da otto tauole marmorce con varie, e belle scolture antiche"
(Aldroandi in L. Mauro, Antichita di Roma, 1556, p. 276). A
description of these eight rehefs by Pirro Ligorio is preserved in tlie
Cod. Neapol., xiii. B, 10, as I am informed by Dr H. Dessau,
to whom I am indebted for a copy of the description of the rehef "<//
Achille et di Ulysse," which, however, affords no new information. —
A curtain is drawn across two-thirds of the scene on the 1., indicating
that there is represented the interior of the females' apartment.
The group of Achilleus and Deidameia forms the centre of the
piece. Achilleus, still in his female dress, from which his powerful
r. leg stands forth nude, is lifting his 1. leg very high; either because

736 WOBURN ABBEY llj.

his foot rests upon some object which we cannot see, or because
he is sitting on the edge of a couch which is shewn in other
copies. His head is surrounded by abundant curls. His body is
turned somewhat r., but his inspired look is directed to the 1. His
1. arm is raised and bears a shield ; the r. arm and lance have been
restored. In front of him on the ground is an enormous helmet with
a plume. On the rounded part of the helmet is a reHef : an helmeted
warrior with his sword drawn is hurrying over a corpse to attack a
nude male figure, who kneels defending himself with his shield; in
the background is another warrior in chlamys and helmet, and two
champing horses ; in front on the screen is a ram's head. Dei-
dameia kneels on the ground before Achilleus, in lively movement ;
she lays her arm entreatingly on Achilleus' knee (1. arm new) and turns
her face (head new) towards the disturbers of her peace ; her cloak
floats at her back. In front of her stands a small Eros with a torch,
his arms outspread ; only his breast, r. arm, upper part of 1. arm, and
parts of the wings are antique. A small basket (KaXa^t'o-Kos) with
wool in it hes at Deidaraeia's feet ; near it stands a second Eros,
of whom only the torso, chlamys and r. wing are antique. One of
Deidameia's sisters is hurrying above her to the r. ; her head, her
advanced r. arm and the tip of her cloak in her r. hand are restored ;
it is certain that she originally did not grasp the curtain, but that her
hand was only put out in defence against the interlopers. To the 1. of
Achilleus are visible four daughters of Lykomedes : one, in a chiton
and a chlamys draped like a shawl, and in a position similar to that
of Achilleus, is holding a cithara (restored at the top) in her 1. arm ;
another dressed in the same way, is hurrying 1. (her forearms and
flute have been added by the restorer); of the two other sisters only
the heads are visible in the background. To the r., outside the
female apartment, stands first Odysseus, much rejoiced at the suc-
cess of his stratagem. His face is bearded and has curls on either
side and he holds it somewhat high ; his r. arm, which is advanced,
and his 1. with the lance have been restored, but probably correctly ;
he wears an exomis, chlamys, high boots, and a sword at his side.
The youthful Diomedes, in helmet, breast-plate, chlamys, and boots,
is hurrying up to him from the r., and is on the point of drawing his
sword. At his feet lie a sword and a richly ornamented breast-
plate adorned with the Medusa's head. Between Odysseus and
Diomedes in the background a bearded warrior with a flat cap on his
head ; on the extreme r. Agyrtes, blowing the trumpet, in helmet
and chlamys. — Unimportant restorations have been passed over in.

wuiiUkx .\r,v,K\ 121 — 128. y^y

my description. Relief much raised ; work not unrefined and in
some parts delicate; the figures in the background flat. H. 0-90.
L. 1-89. From the Villa Aldobrandini in Frascati, whither it had
been brought from the large staircase of S. Maria in Araceli before
the year 1736, as Casimiro Romano (cf on no. 81) does not mention
it. [*CA/IF]

121 (149). Small female bust, said to be of the younger
Faustina; her hair arranged in tlie fashion of the so-called Lucilla
at Wilton House (no. 93). New. [*y?]

123(128). Fragment of the statue of a boy. itz/^-^r., Ph 28, i.
The torso suggests a brisk movement 1., the r. arm (now missing^
was raised, the 1. (only a stump remains) was lowered ; the graceful
childlike head, with the eyes hollowed out, looks fixedly down-
wards to the r. The legs are missing, the r. was somewhat raised.
The figure is graceful and freshly treated, and seems to be the
remains of a group, perhaps of morra players, like the charming
bronze statuette in the British Museum {Guide to Bronze Room,
p. 46, no. i), or of knucklebone players (cf Amalthea, i. PI. 5);
or he may be looking down at a dog. Evidently his attention is
firmly arrested by something below him ; this idea has led to the
fixed look being rendered by hollowing out the eyes. Parian marble.
H. 0-42. [*]

125 (181). Head of a daughter of Niobe. The head is
turned upwards very much to the r. The position of the two eyes
is strikingly different ; the outer corner of the r. one is lifted, the
inner corner of the 1. one lowered. A piece of the breast with the
drapery belongs to the original work. The nose and lower lip
have been restored. This bust may be a portion of a statue, but
the suspicion of its modern origin is not altogether to be rejected.
[*C]

127 (132). Small bust of Aphrodite, of the type of the
Venus of Aries, with a fillet in her hair, lowering her head a little
to the r. The breast h.is been re-set. PrnlMbly new. L. of foce
0-07. [*J

128 (77). Terminal figure of a Satyr in bronze. Engr.,
PL 21. Spec, II. PI. 28. The head has pointed ears, rough hair,
small horns, and the goat's warts {^TJpea) on the neck. It is turned
up sharply to its owner. The eyes are hollowed out. The body is
covered by the drapery, which also partly conceals the terminal
shaft ; the 1. arm rests on the hip, the r. is raised and pressed closely
to the breast ; both are enveloped in the drapery. " The white of

M. C. 47

738 WOBURN ABBEY I 29 — I 36.

the eyes, the teeth, the budding horns, and the tips of the dewlaps
are of silver ; the pupils of the eyes, now open, were once probably
filled with gems or enamel " {Engravings). A bronze statue so well
executed is so uncommon that at a first cursory sight one might
suspect its genuineness ; but it "was found in an excavation made at
Pompeii, when the Duke of Bedford visited that ancient city, in the
spring of the year 1815, and it was presented to him, on the spot, by
Caroline, then Queen of Naples." Queen Caroline Buonaparte paid
her last visit to Pompeii, the only one in that year, the nth of April,
1815. In the official inventory of the objects discovered on that
occasion there is no record of our terminal figure, unless it should
be one of ''due idoletti, utw dei quali con sua base cilindrica" (Fiorelli,
Pompeian. antiqxiitatuin hist., i. 3, p. 274). On the 13th of February
the Princess of Wales, "«« molti signori inglesi" had paid a visit to
Pompeii, but no special excavation appears to have been made on
that occasion {Ibid., p. 170). H. 0-59. [*CIV]

129 (131). Bust of Ganymedes, rather than Paris. A
graceful, very youthful head, which recurs in many replicas, of very
sentimental conception and inclining downwards to the r. New.
neck, chin, piece of the upper lip, nose, some of the curls, peak of
the cap. Pentelic marble. L. of face 0-15. [*C]

130 (129). Small female torso, in a chiton with a double
row of folds ; preserved as far as the knees. Delicate work. Grey
marble. H. 0-23. [*]

131 (182). Small torso of a female statue in a girdled
chiton, with the upper parts of the arms lowered. Missing : head,
forearms, and lower parts of the legs. H. 0-27. [*J

132. Square cinerarium. In the pediment of the lid are
hammer, anvil and tongs. . Below, the inscription : £>{'s) AI{anil>Hs)
s{acrtim). Trebdliae Mel\pomene patronae sue be{ne) me{renti) \fcce-
runt Trehellia Amplidta et Trebdlius Oncsimns \ et Trcbellius Resti-
tutus. H. 0-33. L. 0-42. D. 0-28. [*C]

133 (127). A dove, pluming itself. The figure maybe antique.

H. 0-19. L. 0-24. [*]

134(133). Round sepulchral urn, very small, ornamented
with a race of Cupids. New. [*]

135 (139). Foot of a statue, in terra cotta. Appears to be
new. [*]

136 (140). Fore part of a colossal right foot, furnished
with a sandal and numerous straps which are gathered up in a clasp
shaped like a leaf. Why the foot should have been designated as

WOnURN AliRFV 137—144. 739

belonging to a " statue of the Amazon Smyrna " is not clear.
L. 0-55. L. of the second toe o-rg. [*C]

137(141). Left foot of a small statue. Fragment. [*]

138 (142). Small male torso, resting on the r. leg. Re-
mains of a skin, or drapery, appear on the back and across the
breast from the 1. shoulder to the r. hip. H. 0-24. [*]

139 (143)- Bust of an elderly Roman, beardless, and with
short hair. New: nose, lower lip, cars, neck, and bust. [*£]

141 (147). Torso of Aphrodite, of the type of the Medici
Venus. ^//.?r., PI. 22. S/ir., 11. PI. 11, 12. Arms and head miss-
ing; the r. leg, which is drawn back, is antique as far as the toes,
tlie 1. is antique to the ankles only. The legs have been broken in
sundry places. There is no trace of a join for the hands. The urn
with the drapery is new. The figure is very youthful, the waist being
slim, but the breast and stomach are rather full ; the legs somewhat
long. Good, delicate work, though perhaps not of the first rank.
Parian marble, apparently lychnites. H. 1-12. "This torso was
lately brought from France " {Eiigraviiigs). [*//']

143 (154)- Bust of an elderly Roman, beardless, wrongly
named "Julius Caesar." The face thin, the eyeballs prominent and
with sharply cut lids. New : tip of nose, back of the head and part
of the top of the head ; the bust with transverse stripe (so-called lacna)
appears to be antique. However, Bernoulli, Rom. Ikono;^r., i. p. 177,
thinks that the whole bust might be a work of the iSth century.
Life-size. [*i?]

144 (146). Front of a sarcophagus: triumphal proces-
sion of Dionysos and Herakles. Etigr., PI. 6. An early
drawing, without the restorations, in Cod. Coburg., no. 132 M. A
copy of Zoega's MS. description of the relief is preserved in the
archives of the German Archaeological Institute. The procession
consists of a great number of figures all moving r., where at the
furthest extremity is a small pillar, entwined with wreaths, on which
is a small modern terminal figure. High up in the r. corner sits a
small, bearded mountain god (much restored) with a branch in his 1.
arm; beside him is a pine tree (?). Below, a chariot drawn by a bearded
Centaur, playing the lyre, and a female Centaur striking the cymbals.
On the chariot stands Herakles, nude except for the lion's skin that
hangs over his 1. arm. The club is in his 1., the large goblet
{<rKv<^o%) in his r. hand; across his breast hangs from the shoulder,
in the fashion of a sword-belt, a fillet knotted at regular distances.
In the background Seilenos is visible, touching his ivy wreath with

47—2

740 WOBURN ABBEY I44.

his r. hand, and holding a tympanon in his 1.; behind Herakles is a
youthful Satyr with a pedum. Beside Herakles' chariot, in the
foreground, rides on a panther, a boy represented on a smaller scale
(head and pedum restored); he has a wreath in his 1. hand; before
him on the ground is a bald-headed, bearded mask and in front of
that, under the Centaurs, a panther crouching and a goat lying
down, and between the two sits a boy with a pedum. — The centre
of the piece is occupied by an elephant. On his back sit two
captive Indians, in sleeved chitons, cloaks, hose and shoes, and easily
to be recognised by their characteristic long, stiff curls. Hanging
from the elephant's neck is a long elephant's tooth, and further
back a cup and other booty. High up in the background is a
Satyr with moustaches, leading a horse and a stag (or a giraffe?); a
small boy is partly visible beside the horse. An Indian, on a diminu-
tive scale, is passing under the elephant's trunk. The elephant is
placing his foot on a panther which is lying on the ground, and
the panther in return bites his leg ; under the elephant's belly a
young Paniskos, with goat's legs (pedum restored) is leading a
lion. — Behind the lion comes the car of Dionysos, drawn by two
lionesses. The bridle is held by a big, bearded Pan girt with a
goat's skin. On the backs of the lionesses sit two diminutive Indians,
dressed in a sort of shirt and with branches in their arms (great
part restored). Under the lionesses a boy is playing with a goat;
further in front may be seen on the ground a torch alight, an animal's
head, a round wicker basket (cista?) over which a young Pan (head,
legs, syrinx, pedum, new) is sitting and putting one foot on the head
of a goat. The chariot is ornamented with a garland in relief, and
on it stands Dionysos in a long chiton, nebris and cloak; in his r.
hand he holds the thyrsos and in his 1. the restorer has placed the
reins. Zoega surmises that originally he held a goblet (KaV^aoos) in his
1. hand and that the reins were held by the little Indians. Dionysos'
curly head is abundantly crowned with vine leaves, and a Nikfe ap-
proaching in front of him places on his head with both her hands a
laurel wreath. Beside the lionesses a Bacchante blowing a trumpet
is going to the r. ; behind her a second bearing a small altar in her
hands (according to Zoega a vessel adorned with masks and filled with
fruits); a third appears in front on the e.xtreme 1., carrying a long
staff, which has been restored as a pedum, but which was originally
probably a banner or a tropaeon. All three Bacchantes are crowned
and wear chitons and cloaks. Finally behind Dionysos appears a
youth, crowned, wearing a nebris and holding thyrsos and pedum. —

WOUURX ADliKV 145 — 147. 74 1

Many restorations that are less essential have been passed over in
this description. The composition is overcrowded. Commonplace
work. H. I-I2. L. 2-4,5. From the Villa .\ldobrandini in Frascali.
[*CAfJF]

145 (120). Bust, inconectly named " Clodius Albinus,"
more likely Hadrian, though this too is imcertain; the curls are
smaller than usual. New: nose, and neck ; the bust with the breast-
plate is old. Abraded. Life size. [*^]

147 (I). Large marble krater with Bacchic boys. Engr.,
PI. 4. The whole of the pedestal, parts of the bottom of the vase,
which is very full-bodied and adorned with acanthus leaves, the
handles and the overhanging border with the vine-wreath are new
(the four Seilenos' masks with their pointed ears and ivy wreaths
which are at the lower joints of the handles are antique) ; in the
wreath on the border of the vase some of the sprays belong to genuine
parts, and so that the general correctness of this ornamentation is
established. Lastly, some important portions of the main body of
the krater itself and of its reliefs are new. When the krater was
first made this main body was put together from a number of sepa-
rate pieces; which for the most part are remarkably well preserved.
This is the more surprising as the relief is so very high that the
figures almost seem to stand out independently. All the antique
portions are of coarse-grained Greek marble, and the restorations
of Italian marble. The movement of the scene is from I. to r.
(a) a boy dancing to the r., raising in his 1. hand a hare, and in
his r., which is extended backwards, a lowered torch (new: r. leg,
I. arm and nearly the whole of the hare), (p) K boy dancing to the
r., with a wine skin on his 1. shoulder from which a cloak hangs
down, in his r. arm a pedum (new: a piece of the pedum and half
the forearm), {c) A boy, seen in full face, crowned with vine leaves
and with a chlamys fastened round him, is stepping to the r. He
places his r. foot upon a cista, below the lid of which emerges a
snake; beside him lies a panther on the ground (new: the 1. forearm
with the goblet, the lowered r. arm with the bunch of grapes), {d) A
boy dancing to the r. and looking round at c; in his 1. hand he holds
a goblet {kantharos). on his r. shoulder he carries a thyrsos (new : r.
arm and a piece of the thyrsos). (c) A boy seen in full face, draped
in the chlamys, holding a flute in his r. hand and a basket with
grapes on his r. arm (new: a square piece, comprising almost the
whole body from the breast downwards; antique: the head, all the
r. arm, 1. shoulder and hand and half the basket, important portions

742 WOBURN ABBEY I48.

of the cloak which goes round him, half the lower part of the 1. leg).
(/) A boy treading out grapes in a large vat (new: both arms and
grapes, r. leg), (g) A boy approaches from the r. to empty grapes
into the vat (new: some of the grapes on the ground), {/i) The
eighth boy is entirely new; he is turning to the 1. and busying himself
over a basket with grapes; ^of the whole group only a few of the
grapes beside the basket (new) are antique. Pleasing motives, prettily
carried out. H. 1-40. Diameter 1-03. From Hadrian's Villa, "re-
cently discovered " (Engravings). [*]

^48 (i53). Front of a sarcophagus : Minerva and the
Muses. Engr., PI. 5. An early drawing of this, of the middle of
the i6th century, is to be found in Cod. Coburg., no. 163 M. = Cod.
Pigh., no. 171 J.; a sepia sketch done with the pen, of the 17th
century, and once in the Dal Pozzo Collection, is now in the pos-
session of Mr A. W. Franks, in London. At that time the sar-
cophagus was in the Villa Giustiniani, where is still to be found a
similar one (Matz-Duhn, Ant. Bildwerke in Rom, no. 3271. Gall.
Gtusf., II. PI. go). In the background a curtain is stretched across.
The figures (named here by their usual names) follow each other
from 1. to r. ; they are all seen in full face, and are placed very
close to each other, {a) Erato, in a thin chiton that has slipped
off her r. shoulder and breast, her cloak thrown round her hips ; her
I. foot set on a piece of rock ; she holds her light lyre in her 1. hand,
in her r. she has the plektron (new : head and r. foot), {b) Euterpe
in a long-sleeved chiton with a broad girdle, which was the customary
dress in musical and theatrical representations, is holding a long flute
in each hand (new : nose, feathers on the forehead, 1. hand and
parts of the flute), {c) Melpomene, draped in the same fashion and
having further a cloak on her back, is supporting the club in her r.
hand on the head of an ox which lies on the ground, and holding up
a tragic mask in her 1. (new : parts of the face, the feathers over the
forehead, a piece of the mask), {d) Apollo, nude except for the
chlamys which lies on his 1. shoulder and falls down his back ;
he has long curly hair; the quiver is at his back; in his r.
hand he elevates the plektron and lays his 1. on his cithara, which is
richly ornamented and which lies on a globe marked with the con-
stellations ; this globe rests in the cauldron (A.e'ySr;s) of a tripod, round
which a snake is twined ; near Apollo's r. leg sits the griffin (new :
nose, three fingers of the r. hand and half of the plektron, the 1. hand
and a large piece of the cithara). (e) In the background, behind the
cithara, is a Muse, of whom little more than the head is visible. She

WOHUKN AIJHEV I49 — I 53. 743

lias no distinctive attribute, and may possibly be meant to represent
Kalliope (new : lower lip, feather on the forehead). (/) Athenb,
in a helmet, ornamented with the head of a ram, and plume,
chiton and cloak, aegis with the Medusa's head, and a small owl
at her feet (new : tip of nose, 1. hand with the flute), (g) Urania,
with the Sirens' feathers on her forehead, in chiton and cloak;
she bears in her 1. hand the celestial globe adorned with con-
stellations and in her r. the little staff (half of this restored) ;
near her is a bundle of manuscripts. (//) Terpsichore, also adorned
with Sirens' feathers, is draped like c and with an embroidered
girdle ; she holds the plektron in her lowered r. hand ; her 1. rests
on the high cithara with twisted horns, which stands on a narrow
pillar, partly concealed by Terpsichore's cloak (new : the 1. hand
and part of the cithara, parts of the plektron and two fingers of
the r. hand). (/) Thaleia (?) in chiton and cloak; in her 1. hand, which
has been restored, she carries a comic mask, also restored, and on it
she lays her r. hand (new : the feathers over her forehead). The
figures are arranged in couples, placed face to face; thus a looks at />,
&c., except i, who looks straight in front. The two Muses that are
missing, Kleio and Polyhymnia, were no doubt depicted on the sides,
perhaps in the companionship of a historian and a philosopher. —
Nearly the whole of the upper border has been restored, except the
piece over g and //, where the remains of a distich have been
preserved: ...ov SairiSuiv, iivrjixa Se TovTo 7re\£[t]. Of the lower border
the 1. corner and the piece going from c's r. foot to the middle of ^s
feet have been restored. The principal inscription runs the length
of the upper surface of this border, and then along the front of it to
(jTs 1. foot; of this inscription the following remains are jireserved :

— — VfLO. TO TTtp jxaKapuiv — — — hvvarai
ravra PpoTOiaiv diraaiv €<f>r^fi,0(TvvaicTiv dpiuTwv I

— — — ■ Se €s dWoTpiov ■trivTruicri. — - — — v.

At the r. extremity of the front is written : K- Ei>xnf>iVTu) to) dinXivOipio

fiov a/xiVoft. The inscriptions are not given, neither in the C. I. Gr.

TiO\va.YjM\>(^s Epigraminata. H. 1-02. L. I'St. [*CJ//F]
149(230). Bust of Vitellius. New. [*i?]
150 (145). Bust of Diadumenianus. Engr., PI. 26, 2.

The head looks sharply to its r. The hair is shaved short. New:

the nose and parts of the ears, the 1. half of the bust, and the cloak.

Pupils expressed. Life size, (kaceful work, full of life. From the

Palazzo Rondinini in Rome. [*-^]

153(157)- Bust of the elder Brutus. New. [*]

744 WOBURN ACBEV I 54— 1 73.

154(158). Bust of the younger Brutus. New. [*]

165 (169). Female bust of about the Augustan period; the
hair grows low on the forehead; said to be Terentia, Cicero's consort.
Life size. [*.B]

166 (185). Bust of Marcus Aurelius. New: nose, the
hair on the forehead, the bust. Larger than life. [^'-B]

169 (172). Side of a sarcophagus: Nymphs tending
the infant Dionysos. The scene corresponds to those on the
sarcophagi in the Capitol and in Munich {Afus. Capitol., iv. PI.
60. Miiller-Wieseler 11. 34, 402). In the background is a curtain
fastened to two trees. A nymph sits on a rock to the 1., her cloak
thrown round her legs, the upper part of her body nude except for
the band under her breast (strophion); her hair is concealed by a
cap. The plump infant lies in her lap, supported by her 1. hand ;
in her r. she holds up a cloth. The second nymph, who has no
draper}' except the cloak thrown lightly round her legs, is standing
to the r. and pouring water from a large urn into a wide vessel
with handles that stands on the ground. H. 0-39. L. 0-44. [*CJ/]

171(173). Female statuette ("Ceres"). Engr.,Y\. 20. The
figure rests on the 1. leg, the right being drawn back somewhat.
She wears a thin chiton and a cloak which goes from the 1. shoulder
down her back, then passes under her r. shoulder across her breast,
falling at last over her 1. forearm which is advanced. The attri-
butes of Ceres were only given to the figure by the restorer. New :
head crowned with wheat-ears, neck, r. arm (including the shoulder),
holding a bunch of corn, and 1. forearm. Pleasing motive, well-
executed. Parian marble. H. 0-84. " Brought from Italy by the
late Marquis of Tavistock " {Engravings). [•']

172 (174). Female bust. New: tip of nose and bust. Life
size. [*]

173 (i68). Marble candelabrum. The lowest division new.
Then comes a triangular pedestal, with a winged youth on each
side ; these figures finish off in vine sprays. They represent three
seasons : Autumn crowned with vine leaves, holding a cornucopiae
filled with grapes ; Summer crowned with ears of wheat, and also
holding some in both hands ; and Spring with flowers in the upraised
r. hand. The reliefs pretty but much touched up. Above this
pedestal we have a round stem formed of three thyrsi involved with
vine sprays; birds fly about in the foliage. Above, leaves of acanthus.
The cup at the top is new. The whole work is graceful. H.
2-i6. 1*1

WOI!L'RN ABBEY 1 74— I 86. 745

174 (179)- Bust of a Roman, with a short beard and thick
hair that falls in disorder over his face. Late work, but good ; re-
sembling in style the head in the Braccio Niiovo of the Vatican,
no. 63 ("Aelius Caesar"). New. nose and bust. Life size.
[*£]

176(176). Bust of Pan. New. [*]

178 (130). Small terminal bust of the bearded Dionysos,
crowned with ivy; appears to be the half of what was originally
a double bust. H. o-i6. [*]

179(114). Small bust of a Satyr. New. [*]

180(135). Statuette of the Nile. New. [*]

181 (17S). Bust of Matidia. £ngr., PI. 28, 2. New : nose
and neck; the bust is antique, and may belong to the head. Below
life size. [*]

182 (125). Small terra cotta, shaped like a desk. On the
slanting surface are three bearded heads, the first with a high bald
forehead, the second with rough hair, the third with hair lying flat to
his head, and all having the modius on the head. They are meant
to represent Poseidon, Zeus, and Pluto, as the special attributes of
these deities are to be seen below on the front: viz. a trident, a
thunderbolt, and a two-pronged fork (whether the last was an antique
attribute of Pluto's is not quite certain). Under the thunderbolt is a
kind of table, crowned at the top with a palmetto ornament, and with
this inscription in raised letters : Di/s propi. \ M. Herennii \ vivaiis.
New. Of this specimen there exist many examples, for instance in
Paris, Vienna, Wiirzburg, see Arc/i. Ans., 1859, p. 115. [C]

183 (170). Bust of Cicero. Bernoulli, Jiom. Iko?wgr., 1. p.
137. supposes it to be a replica of the head in Apsley House,
London, no. i. I think it is new. [*^]

184 (115). Small bust of Hadrian. Completely effaced.
Nose new. L. of face o-oS. [*]

185 (151). Small bust of Sabina, with a stephane indented
like a royal crown. New: tip of nose, pieces on the chin and
forehead, and the bust. Half life size. [*]

186 (54). Three square cineraria. A) On the front the in-
scription: jD{is) M{anibus) Calpuifii.e Feliciteati \sic, T made of an
E] Curtilius pate ter \sic\ filiae pien tissimae f(ecit). All round is an ivy
wreath, below an urn. On the sides ivy, on the lid a wreath. — B)
Two boys on a pedestal, holding a wreath; below two cocks pecking
at a lizard. Inscription tablet empty. — C) In front the inscription :
D(is) M{aiiibus) \ Vakriae P. f. Valerianae, \ v{ixit) an(ins) xi

746 WOBURN ABBEY l8g — 20I.

vi(ensibus) viiii d(iebus) xxiiii, \ P. Valerius Cer talis \ filiae pilssimae.
All round a garland of fruit, held by two boys with wings. On
the lid is a fruit basket between two birds, at the corners are
masks. [*C]

189 (184). Square sculptured capital. The column termi-
nates in leaves like those of the palm tree; on the top of it in entirely
detached high relief is on each side Dionysos wearing a cloak, the
thyrsos in his 1., the kantharos in his r. hand ; he is between two
Satyrs, one of whom carries a wine-skin, the other a pedum (in one
instance a twisted trumpet). At each corner a boy with a torch in
the 1. hand, and a branch in the r. Sculpture in the style of
sarcophagi. H. 0-25. Diameter of the top plinth 0-21. [*]

190 (136). Terracotta relief, with the head of Serapis, seen
in full face, with the modius. Appears to be new. [*]

191. Female bust. Life size. [*]

193. Votive relief of Maridia Polla. ArcJi. Aiiz., 1864,
PI. A, I (Conze). The relief is in a frame, and is injured at the
upper 1. hand corner; in the centre are two ears, much hollowed
in the inside, and beside each ear is Asklepios' snake twisting itself
up ; near to each is a plant like rhubarb, or silphium. Above is the
inscription : [toJu wrt [oJu Oepa-n-ei [as] MapiSta JlmWa | [ie]p»;ls
£u'xa/jtj[<T]r);'piov. According to this inscription the relief is a thank-
offering for recovery from some disease of the ear. Very much
scratched. H. 0-28. L. 0-38. [C]

198 (56). Bust of Antoninus Pius. Engr., PI. 24, i. Good
bust. New : nose, lobes of the ears, both shoulders. Larger than
life. Purchased from the collection of Sir Hervey Bruce, Bart. [*-5]

199 (i88). Head of a Satyr. New: forehead, nose, all the
1. half of the face. Life size. [*]

201 (60). Statue of Dionysos. Engr., PI. 17, 18. The God
is leaning gracefully against the trunk of a tree, over which a nebris
has been thrown; a vine branch with grapes on it winds up the trunk,
and below, a snake is twining itself round the trunk. The head of
the God is somewhat lowered, with the expression of a pleasant
reverie; beside the ivy wreath he has on his head a broad fillet which
partly conceals his forehead; curls fall down on his shoulders. His
1. elbow rests on the trunk of the tree and his hand holds a bunch of
grapes; the r. arm hangs down inactive, but the hand may once have
held something (a goblet?). The body is slender and delicate. The
pedestal, slightly ornamented in front, is antique. The statue has
been much broken, but the essentials are antique; new : the snake's

WOIJURX AIUiEV 202 — 210. 747

head, a branch between the trunk of the tree and the buncli of
grapes, and perhaps the r. hand. Good work, decidedly surpassing
ordinary decorative sculpture. Coarse-grained Parian marble. H.
about I "50. "Brought from Italy by the late Earl of Upper Ossory;
presented, in 1822, to the Uuke of Bedford by I,ord Holland,
whose property it had become after the death of his uncle Lord
Ossory" {Engravings). [*C/F]

202 (61). Relief, corresponding to one in the Vatican {Afiis.
Pio. Clan., iv. PI. 28). A Seilenos in a small cloak, big and plump,
and looking as if he had had far too much wine, is falling forwards,
while a Satyr is using all his exertions to support him and prevent his
coming quite to the ground. A second Satyr, coming along behind,
with a wine-skin on his 1. shoulder, is amusing himself by lifting uj)
the back of Seilenos' drapery. The top piece and the 1. lower corner
of the relief are new. H. 0-41. L. 0-37. [*C]

204(191). Torso of an Eros. Engr., PI. 46, 2 ; 3. He is
resting on the r. leg and putting the 1. slightly forward. On the 1.
arm are the remains of a bow; no trace of wings is e.xtant. Both
arms lowered. Missing : head, three parts of the r., half the 1. arm,
more than half of both legs. The youthful body is gracefully exe-
cuted. Fine, coarse-grained Parian marble. H. o'56. Found in the
sepulchral chamber which contained the sarcophagus no. 104. [*]

205 (194). Youthful male torso, said to be of Apollo. Engr.,
PI. 23. Missing : head, arms, lower part of r. leg and three parts of
the 1. leg. Pretty good sculpture. H. o"79. Found in an excava-
tion made near the Appian Way, in the year 1815, and jjurchased
of J. Millingen. [*]

205a. Similar torso, very slender, resting on the r. leg; pose
very erect. Missing : three parts of the r. leg, the lower part of the
1. leg, both forearms, and the head. Poor sculpture. H. 0-82. [*]

207 (193). Torso of a youth, resting on his 1. leg, his r.
bent; the body is very slender and bends over to the r. Judging
from the proportions and the delicacy of the limbs, it may be
Dionysos. Missing : head, the lowered arms except the stumps, and
the feet. Very well executed ; fine Parian marble. H. o-6i. [*]

208(195). Female bust. New: nose and 1. cheek. Life size. [*]

209 (197). Bust of Geta (?). New: all the lower half of the
face, the nose, the r. eyebrow, and parts of the hair. Larger than life.

210 (90). Statue of Athene. Engr., PI. 19. The goddess
wears a double chiton and has the aegis; she is standing somewhat

748 WOBURN ABBEY 21$ — 219.

stiffly. New : three parts of the lowered r. arm with the shield on
which it is supported, the lance in the 1. hand, the helmeted head;
the 1. arm, formed to hold a lance, has been broken twice but appears
to be antique. The aegis, treated in a very affected manner, is also
antique. The whole figure has been much mended and badly
smoothed over; the effect of the work lacks repose. H. i'46.
"Brought from Italy by the late Marquis of Tavistock, and placed
in the Great Hall at Bedford House " {Engravings). [*CfF]

215 (199). Head of Ptolemaeos, son of Juba, according to
the opinion of P. E. Visconti, which is apparently correct. Engr.,
PI. 27, 3 ("Persius," title quite without foundation). The head looks
upwards to the r., and has a broad fillet in the curly hair. By the
ears and on the chin are some downy hairs. New : nose. There
are other copies in the Vatican, Braccio Nuovo, no. 72 (Visconti,
Opere varie m. iav. d'agg.), and in the Villa Albani, no. 58. Life
size. [*£]

219 (203). Sarcophagus : Patroklos, Achilleus, and
Hektor. This large sarcophagus, which has been broken into three
pieces, was for a long time let into the wall over a gate of the
fortress of Ephesos, so that going from 1. to r. at first the greater
part of the front (excepting the corner figure at the 1.), then the
1. side, and finally the 1. two-thirds of the back were visible. In this
disposition the reliefs have been very superficially copied in Tourne-
fort. Voyage an Levant, in. p. 391, and in Choiseul-Gouffier, Voyage
pittoresque de la Grece, i. vign., and PI. 121 ; a copy of the latter
engraving is given by Falkener, Ep/icstis, p. 120, and the first and
second piece by Inghirami, Galeria omerica, PI. 212, 229. In the
year 181 9 the reliefs were removed from their position, and at the
moving especially the front suffered, all the lower part being broken
off, which in the older drawings is represented as perfect. Three
small fragments are in Woburn, a larger one (Hektor's corpse) has
remained behind at Ephesos, and in 1832 lay there below the gate
(cf. Prokesch-Osten, Denktvurdigkeiten und Erinnernngen, 11. p. 94.
Arundell, Discoveries in Asia Minor, 11. p. 256. Falkener, Ephesus,
p. 121). The reliefs came to England by way of Smyrna and Malta;
they may have arrived at Woburn between 1822, when the En-
gravings appeared, and 1828, when the first edition of the Catalogue
was made ; at any rate we learn from Robinson's Vitruvius Brifan-
nicus, Woburn Abbey, PI. 4, that in 1833 the sarcophagus already
occupied its present position. The annexed plate is copied from
a drawing made for the German Archaeological Institute.— The

WOISLjRN abbey 21(1 (20-,).

WOIiUKN AIUSEV 2ig. 749

sequence of the scenes appears to be as follows ; each front con-
taining two scenes (otherwise Benndorf, Annali, 1866, pp. 248, 255).
I. Right side (only the r. half preserved). On the extreme r.
stands a youth, nude, except for his chlamys and boots, with a lance
on his 1. arm, holding a horse by the bridle. In front of him stands
an armed warrior in helmet, breastplate, chlamys and boots ; he
holds his sword in his 1. arm ; his r., like all the rest of him, is lost.
Probably the whole scene referred to the arming of Patroklos ; if the
warrior is not Patroklos himself, it is his comrade, who comes up
again just in the same way in the next scene. (Waagen does not
mention this scene at all, Conze thinks it is the arming of Achilleus ;
see however scene in.) — II. Left side. A youth, nude except
for his chlamys, approaches from the 1., bearing on his back the
corpse of Patroklos, whose head and 1. arm hang down over the
shoulder of his bearer. A fully armed warrior goes before them to
the r. ; his sword rests on his 1. arm, he holds his r. hand up to his face,
which is turned back to gaze at the youth and his burthen ; on the
ground is a corslet. Beside this man stands a similar warrior, in a
similar position; he has, however, no helmet, and his corslet is
almost concealed by his chlamys ; with his 1. hand he grasps a lance
near the top ; the r. he lifted mournfully to his forehead (the greater
part of the arm is now missing). On his r., in a chair with lions'
feet and covered with a skin, sits Achilleus, the upper part of his
body nude, his legs covered by his cloak. He rests his 1. hand on
the chair and raises the r., with an expression of the greatest grief, to
his curly head. Behind his chair stands a warrior in corslet and
chlamys, but without a helmet, who lays his 1. hand sympathisingly
on Achilleus' shoulder and his r. on his own chin. The whole
scene is very lucidly composed, and is full of expression. — III.
Front, right h.\lf. A warrior with abundant curly hair is seen
in full face, standing. He already has on his corslet and chlamys,
his sword at his side, and high boots ; a youth, draped only in a
chlamys, stands on his r. hand, holding a helmet with both
liands ; we see a corslet and a shield on the ground. On the
extreme r. a fully-armed warrior, with his sword in his r. aim, is
going away ; he is looking back at the others and originally raised
his 1. hand (now broken off), perhaps beckoning them to follow him.
Everything here indicates preparation and starting for battle ; but
quite to the 1., near the principal figure, stands a bearded old man,
head and body completely enveloped in his ample cloak, and who is
shorter by a head than any of the other figures. In his 1. hand he

7 so WOBURN ABBF.Y 2 1 9.

holds a strong, bent staff, he lays his r. imploringly on the arm of
the curly-haired warrior, who however with his hand flat makes the
sign of the refusal, which is so common in representations of Hip-
polytos. What was the action of the 1. arm of the principal actor
is no longer clear, because all the forearm is broken off; Tournefort's
and Choiseul-Gouffier's engravings represent the arm raised as if he
were just about to take the helmet from his companion at his r. The
scene seems intended to portray Achilleus, who in spite of the
warnings of his elderly friend, Phoenix, is preparing to set forth and
avenge Patroklos ; cf Arch. Ariz., 1862, p. 343. (Waagen and
Conze suggest Priam before Achilleus, cf however scene v.) — IV.
Front, left half. To the 1. stands a fully-armed warrior (his pose
is the exact counterpart of the warrior furthest to the r. in scene iii.)
holding the prancing horse of Achilleus' chariot; a second warrior
like him is behind the horse occupied in a similar way. Carriage-
pole and yoke are distinctly given, but the second horse is left out.
Under the horse are the head and shoulders of a youthful Trojan
who is lying on the ground, in chiton and Phrygian cap ; perhaps one
of the twelve youths who were to be sacrificed to avenge Patroklos.
On the chariot, the wheel of which is preserved as a separate frag-
ment, stands a nude youth, seen from behind, with his sword-belt
across his back ; on his 1. is the large shield ; his r. arm is broken
off; he is looking down on the following scene. This youth is
probably Automeden (Conze thinks it is Achilleus). Nearly in the
centre of the whole front stands Achilleus, who has just descended
from his chariot, in excited movement. He is fully armed, and has
his shield on his 1. arm; his chlamys hangs from his 1. forearm down
to the ground. To gratify his thirst for vengeance, and perhaps to
bind it to the chariot, he is tugging at the 1. foot of the nude corpse
of Hektor, which lies on the ground. Of Hektor only the raised 1.
leg and an individual fragment containing the lowered r. leg below
the knee are preserved ; the body itself, as we have remarked
above, was left at Ephesos. In the older engravings he is re-
presented lying at full length, with his arras over his head ; Tour-
nefort draws him lying on some drapery. In the background,
on either side of Achilleus, we perceive a youthful warrior, in
helmet, corslet, and shield, the one to the r. has also a lance ; both
are looking at Achilleus. A third fragment, a foot fastened to the
ground, which is at Woburn, probably belongs also to this scene.—
V. Back, right part, which is the larger. On the extreme r.
is preserved the upraised 1. arm, with the remains of a breastplate.

■\vonuKX AP.r.rv 219. 751

and the spear that was held by the hand of Achilleus, sitting ; the
rest of his form, and probably one or two companions in the back-
ground, have been quite lost in a large gap, about o'go wide, in the
marble. The same accident has affected Priam, who is approaching
in a bent position from the 1. and of whom only the back, covered
with a wide cloak, and one foot remain. Behind Priam, suspended
from a strong beam, hang the scales, which were mentioned on
this occasion by Aeschylos in his $puyes (Sc/wl. Homer., 11., 22,
.•551). In the r. hand scale lies a bar, doubtless of gold; a
warrior armed in helmet and coat of mail and with a sword in his r.
arm, keeps watch beside it ; with his 1. hand he grasps a spear.
Behind him a bearded Trojan, in chiton and hose and a Phrygian
cap, is bringing a corslet on his shoulder as a contribution to the
ransom money. In the 1. hand scale lies Hektor's nude corpse, the
head and legs hanging down. In the background, on the extreme 1.,
stands an elderly female figure, made very slim from want of space.
She is veiled and raising her r. hand in grief or entreaty; it can only
be intended for Hekabe, put in by the artist as accompanying Priam,
to enhance the effect. — VI. Back, left part, which is the
SMALLER. On the extreme L, in a high chair with a footstool,
sits Andromache (here again the arrangement is symmetrical ; An-
dromache corresponds to Achilleus, who sits at the r. end of the
relief). She is draped in a chiton and a cloak, which also veils the
back of her head. She supports her r. hand (as does the grieving
Achilleus in scene 11.) on the chair, and raises her 1. sadly to her
forehead. Her look is directed to the little Astyanax, who is being
led away by the bearded Odysseus. The boy is draped as a
Phrygian ; he is looking back at his mother and stretching out his
r. hand to her. Odysseus, too, looks compassionately at Andro-
mache as he hurriedly goes off to the r. ; he is easily recognised by
his egg-shaped hat (iriXos, pilleus), exomis, boots, and sword in his
1. arm. In the background, above Astyanax, may be seen a youthful
Trojan (female) prisoner, with long hair and a Phrygian cap ; she
wears a chiton and her chin is supported sadly on her 1. hand. The
abduction of Astyanax to the camp of the Greeks, where he soon will
meet his death, is the concluding scene in the fate of Hektor and
his family ; thus the avenging of Patroklos is finally consummated.
— The front and the 1. side are carefully executed in high relief,
the back and the r. side are more slightly sketched in low relief; the
cornice is ornamented with acanthus leaves in front and on both
sides, on the back it is smooth. We see from this that this sarco-

752 WOliURN ABBEY 220 — 259.

phagus was not intended, like most of those used in Greece, to
stand in the open air (cf. Matz, Arch. Zeit, 1872, p. 11 ff.), but in an
underground chamber where the four sides would be exposed to a
very different light. It is the same case with the Capitoline and
the Cretan Achilleus sarcophagi {Miis. Capit., iv. PI. i. Spratt,
Travels in Crete, i. pp. 279 ff), wth the Hippolytos sarcophagi in
Girgenti and in S. Petersburg (cf. on no. 58), and other similar sar-
cophagi, which may be also compared as to the style of the sculp-
ture. Our sarcophagus, though scarcely more carefully, is more
frankly executed than most of the others. Parian, or similar marble,
of a coarse species. H. 1-90. L. 2-65. 0.1-24. [*CMJF]

220 (201). Head of a Roman, beardless, named, without any
reason, Uomitian. It is more likely to belong to the last century B.C.
The mouth protrudes a good deal. New : nose and bust. Life size.
[*£]

222 (204). Bust of Commodus. New : nose, chin, lobes of
the ears. Less than life size. [*]

223 (210). In the centre of the Gallery are parts of a mosaic
floor discovered near Rome in 1822; the other pieces of it, as far as
they are preserved, are in Rossie Priory, cf. Rossie Priory, no. 1 36.
Unfortunately , I am not in a position to give a description of the
Woburn fragments. [*]

257. Head of a Greek philosopher, looking up somewhat
to his r. The skull is only covered with thin tufts of hair, the mouth
is open and the expression full of pain. It reminded me somewhat
of the head of Karneades; Bernoulli compares the style to heads of
Epikuros and Metrodoros, but without considering it identical witli
either. New : nose, part of the beard, bust. Larger than life. [*J>]

258. Female head, similar to the one in the Cabinet des
vi'edailles at Paris {Gaz. ArchcoL, i. PI. i). The face is in the shape
of a long oval ; the hair, parted in the middle, is wavy and combed
upwards, giving the idea of greater height ; the mouth is open. The
head incHnes a little to the 1. ; a sHght shade of pathos is ob-
servable. New: nose and upper lip, a patch in the 1. cheek, both
ears, neck; the back of the head is missing. Greek marble, some-
what coarse-grained. H. of the head 0-28. L. of face 0-22. [*]

259. Head of a youth. The hair is smooth and comes down
low on the nape of the neck ; there is a slight down on the cheeks
and upper lip. The head reminds us of certain barbarian heads of a
finer type, but it seems nevertheless to represent a Roiran. Pupils
expressed. New: nose. L. of face o' 16. ['•]

WniiURN ABBEY 236 — 24O. 753

I have not seen tlie following; specimens which are in the passage
leading from the Sculpture (lallcry to the Conservatory.

236 (213). Two ancient terra cottas of a winged Victory
sacrificing a hull.

237 (214). Ancient terra cotta of the boy of lassos (I'lin.,
I^a/. Hist. 0, 27) riding on a dolphin in the sea (?).

239. Assyrian basrelief, from Nimrud, about n. c. 880.

240. The same from a palace at Nineveh, built by Sardana-
pallos II. about r..c. 650.

The small bronzes and painted vases, pieservcd in the " Mu-
seum," ai)peared to me to be of minor im])ortance. The vases were
for the most part purchased by Duke John from the Cawdor collec-
tion. Among them are four in the fashion of the Nola vases, having
on them scenes from daily life; others from Lower Italy have Bacchic
representations; for example one of a Bacchante dancing merrily, for
whom a Satyr in a graceful pose blows the flute. \*CIV]

M. C. 48

INDEXES.

48—2

INDEXES.

COLLECTORS, COLLECTIONS, SOURCES, etc.

Capital lettebs distinguish the pLices of collections in Great Britain.

Italic letters refer to the phtccs where the antiquities have been discovered.

An asterisk (•) marks articles not described in the Catalogue.

§ and n. refer to the paragraphs and notes of the Introduction, p. to the pages of the book.

Numbers immediately following the name of a collection are the numbers of this Caulogue.

St. statues, groups, etc. H. heads, busts. li. reliefs, vases, etc. Br. bronzes.

T. terra cottas. P. pictures. V. painted vases.

Aberdeen, Lord, n. 162. § 67. 6S. 82.

83, Qt. Cambridge 18
Acharnac R. Lowther 37
Adair, Dr, § 59
Adam, James, architect, § 60
Adams: London, Lansdowne 77
Aigina § 73. 80. 96
Albaccini, Carlo, sculptor, Rome, § 47.

53. SI. Ince 9. 22. H. Ince 97
Albani, Card. Alessandro, § 40. 42. 45.
47. SO. 52. 55. .SV. Ilolkham 16. 19.
'7- 28. 33. H. Houghton 6. Ince 126.
Drawings London, Franks. Wind-
sor I — XVIII
Albatto § 48. H. Ince 90. 113
St Alban's, Duke of, § 59. 71. K. Ince

228
Albert, Prince, Osborne 2. 4
Aleppo p. 197

Alessandroni, see Lisandroni
Alexandria pp. 188. 191. 197. St.
Cambridge 115. //. Cambridge 41?
Kingston i
Allason, Thomas, p. 618
Amasia (Asia Minor) pp. 202. 203

-Vmherst, Lady, p. 417

Ami<lci, Belisario, dealer in antiquities,
Rome, § 40. 42. 47. St. Holkham 20.
23- 34

Amyklai § 67

Anderton, T. P., n. 443

Andros pp. 199. 201

Angelis, Domenico de, Tivoli, § 48

Ankyra (Asia Minor) § \z. 24, pp. 190.
lyi. 196. 197. //. 0.\ford 1 13

St Ann's Hill p. 2 i i

Anson, Lord, n. 161. § 38. 4t. 71. p.
213. London, Lansdowne 70. See
Shugborough

Antiquaries, Society of: London, Bur-
lington House

Apsley House, London, pp. 429 — 431

APPULDURCOMIIE § 66. p. 226
Archipelago, Islands of the, probably
the source of R. Oxford 59. 83. 92.
142. 151. 152. 206. 209. 211. Rich-
mond 70. Rokeby 1 — 4. — Cf. p. 203.
See Andros. Chios. Delos. Kcos. Leni-
nos. Naxos. Palmes. Rhencia. .Samos.
Santorino. Skyros. Tenos. Thasos

758

Argos p. -203. T. Canterbury -27

Argj'll, Duke of, H. Cambridge 44.
Wilton 78

Aries Br. Liverpool I

Arundel, Lord, § 3— 8. 10 — 17. 20—26.
32. pp. 185 — 187. 192 — 196. Ince64.
Oxford pp. 538 ff. Wilton p. 666,
no. 109? — &£ Howard

Arvi (Crete) R. Cambridge 31

Ashburton, Lord, n. 161. § 87

Castle Ashby pp. 211 f.

Asia Minor London, S. Kensington i —
17. Sculptures probably derived
from, Cambridge 23. 109. 100. Liver-
pool 3. Oxford I — 9. 59. 83. 92. 142.
151. 206. 211. Rokeby 1. 4. — See
Pergamon. Smyrna, &c.

Askew, Dr, § 65. 71

Assyria R. Oxford 125. 126. Woburn
239. 240

Astle, Thomas, § 57

Athens, § II. 28. 73—76. 88. 96. pp.
195. 197. 198. 200. 201. 203. SI.
Cambridge 3. 4. 11. 12. Hilling-
don. Oxford 178. Richmond 4. //.
Brocklesby 2. 7. Cambridge 48? R.
Brocklesby 10. 28. 42. 67. 76. Cam-
bridge 16 — 18. 20. 21. 28. 94? III.
Lowther 38. Br. Canterbury 31. T.
Canterbury 27. V. Canterbury 1 16. —
Parthenon : Brocklesby 42 ? Cam-
bridge 28? Marbury p. 515. Sec
Attica

Athies (France) R. Wilton 137,
138?

Athos, Mount, St. Canterbury 135. T.
Canterbury 27

Atkinson, London, p. 431

Attica A'. Oxford 88. 94? 131—135-138
— 141. 144 — 146. 203. Wilton 137?
— Winton 1.2. V. London, Burling-
ton. Cf. Acharnae. Athens. Keph-
issia. Marathon. Rhamnus

Attree, W. W., n. 48 1

Aufrere, Geo., Chelsea, R. Brocklesby
66. *Piranesi, Vasi, I. PI. 47

Auldjo, London, n. 477, § 97

Azara, Spanish Ambassador at Rome,
§56

Babington, Churchill, p. 267

Bacon, Sir Francis, § 16

Bagni di Roselle (Etruria) St. Rich-
mond 3

Baldwin, Consul, § 85. //. Kingston i.
2. London, Hamilton i

Bale, C. .S., p. 431

Baltimore, Lord, § 51

Bandinel, James, p. 301

Bank of England, collection of coins,

§95
Bankes, Henry, § 81—83
Bankes, W. J., § 85. See Kingston

Lacy
Banks, Sir Jos., no. 161
Banks, sculptor, Ince 64
Baramitsh (Troad) St. Cambridge 2. 9
*Barber, John, A'. Piranesi, Vasi, II. PI.

96
Baring, see Ashburton
Barnes R. Lowther 60
Bartoli, Pietro Sante and Francesco,

draughtsmen and engravers, § 29. 34.

Holkham 62. Windsor ixA. x.x—

XXIII
Bassae (Phigalia) § 73. 8r. n. 431. § 96
Bateman, Lord, § 59. See Shobden
B.-VTTLESDEN § 23. p. 212
Bavay (France) .5V. Edinburgh 22
Beaconsfield § 22
*Beauclerk, Aubrey, R. Piranesi, Vasi,

11. PI. 72
Beauclerk, Lady Mary, § 23
Beaufort, Duke of, § 36. R. Wilton p.

669
Beaujon, de, Paris, St. Richmond 2
Beaumont § 71
Beaumont, see Wimbledon
Bedford, Dukes of, n. 161. 248. § 86.

See Woburn Abbey
Bedford, Francis, architect, § 73
Bedford, Lucy, countess of, § 13. p. 199
Belzoni: London, Soane 38
Benghazi (Africa) § 94
Berkeley, Lady Elizabeth, § 23
Bernini, sculptor, Holkham 36
*Berry Hill, Surrey, R. Piranesi,

Vasi, II. PI. 74. 8s
Bcssborough, Lord, § 35. 38. 50. 54. 71.

COLLECTORS, COLLECTIONS, SOURCES, ETC.

759

St. Brocklesby io8. Ince 15. 25. 63.
83. Lowlher 4. II. 66. 67. Petworth
12. /f. Ince 116. 2163. Lowther 18
— 20. 39. 40. A'. Ince 274. 305 — 307.
.^53- 3^i- 366. 394—396- London,
Soane 24. Lowther 41. 42. 49. 50.
52—61. 95

Beugnot collection, Paris, p. 293

Bibby, E., A'. Liverpool 6

lUi-.NOR Park pp. 212 f.

iJiliotti § 94

Birmingham p. 213

Blacas collection, Paris, § 87. 95

Bl.iyds, Thomas, banker, g 87

Blundell, Henry, n. 148. § 58. 59. 62.
SW Ince Blundell Hall

Boileau, Sir J., see Ketteringham Ilall

Boni, sculptor, iV. Ince 106

Bonn Br. Richmond 25

Bootle, Captain, § 29

Borghese, Prince, § 56

Borgia, Monsignore, S 56

Borioni collection, see Rome

Borrell, H. P., § 89

*Boyd, John, R. Piranesi, Vasi, I. PI.

57—59
Boyle, see Burlington
BoYNTON Hall § 59. p. 216
Bramhidae (Asia Minor) g 93
Brand, Thomas, § 29. 38. 41. p. 241.

333. R. Cambridge 68
Brettingham, Matthew, jun., architect,

§ 42 — 44. See Holkham. Houghton.

Petworth
Bristol, Lord, § 62. 87. .SVv Ickwortb.

London, Lansdowne 78
Broadlands § 53. pp. 217—226
Brocklesby Park § 66. pp. 226—240
Broendsted, P. 0.,§ 73. 84
Bromilow, see Broomielow. Addenda
Broom Hall p. 241
Broomielow § 23. See Battlesden
Broughton, Lord, n. 161
Browne, Lyde, § 29. n. 161. § 52. 53.

57. 71. R. Petworth 40. 46
Bruce, Sir Hervey, H. Woburn 198
Brussa {.\sia Minor) §12. pp. 202 f. R.

Canterbury 149
Bucclcuch, Uuke of, n. 161. S .=4- 7'-

St. London, Lansdowne 78. //. Ince

144. See Dalkeith Palace
Buckingham, Geo. Villiers, Duke of, §

8. 10 — 13. 19. pp. 187 — 192.196 — 199.

200 — 204
Buckingham (Grenville), Dukes of, n.

i6i- § 59- 87. See Stowe
Budrtitn, see Halicarnassus
Buonarroti, Filippo, § 34
Buonarroti, Michel Angelo, Cambridge

60?
Burgon, Thomas, § 88. pp. 539 f. SI.

Oxford 16. 17. //. Oxford 61. R.

Oxford 85. 93 — 95. 208
Burke, Edmund, § 90. H. Lowther 79
Burleigh House n. 243
Burlington, Lord, § 22. 33
Burlington House, London, § 33. 77.

80. p. 431
Bute, Lady, § 65
Buyukdere (Bosporus) R. Canterbury

140
liyrcs, James, architect, § 48, 62
Byron, Lord, § 79

Cadogan, Lord, n. 242. g 97
Cambridge § 67. 72. 87. 100. p]>. 24 1

— 272
Camelford, Lord, g 54
Camirus (Rhodes) § 94
Campania St. Knole i
Campbell, General, g 29
Campbell, Fred., Br. Oxford 238
Campi, Giulio, painter, Windsor x.xiv
Camuccini, painter, Rome, § 86. R.

Woburn 107
Canino, Lucien Buonaparte, Prince of,

g87. 92. p. 432
Canopus (Egypt) //. Kingston 2
Canosa (Apulia) V. Liverpool 24. 25
Canova, Ant., sculptor, § 40. 76. 81 —
83. 85. 86. Ince 9. London, Hamil-
ton 2. London, Lansdowne 65. Wo-
burn p. 722
Canterbury § 89. pp. 272^276
Canterbury, Archbishop of, p. 1S7
Caprancsi, art-dealer, Rome: London,

Crichlon
Caraffa Palace, see Naples

76o

Carilenas, Don Alonzo de, n. 65
Caria, between Aphrodisias antl Ilieia-
polls, J\. Oxford 201. See Cnidus.
Halicarnassus. Stratonikeia, &c.
Carlisle, Lord, § 29. 35. See Howard
Carloni, engi-aver, Windsor xxv
Caroline Buonaparte, Queen of Naples,

Woburn 128
Carpio e Ilelicce, Marchese del : Lon-
don, Franks II
Carteret, Lord, § 28
Carthage § 94
Cassel, Museum, § 56
Castel di Guido (Lorium) § 48
Castellani, Aless., dealer in antiquities,

Rome, § 95- p. 6/2
Castle Ashby, see Ashby
Casii.e Howard, see Howard
Catherine U., Empress of Russia, § 52.

55
Cavacejjpi, Bartol., sculptor, Rome,
§ 4°- 42. 43- 46. 47. 5'— 64- 56. St.
St Ann's Hill 5. Broadlands 13. 14.
Deepdene35. Duncombe i. 2. Holk-
ham 16. 19. 20. 23. 25. 27. 28. 33. 42.
Ince 4. 9. 18. 21. 39. 57. 68. 81.
Lowther 3. Newby 18. 20. 28. 40.
Richmond 40. H. Broadlands 19.
Ince 91. 105. 112. 121. 126. 146. 153.
'54- 157- 160. 162. 167. 180. 189.
196.206. jV. Holkham 51. Ince233.
London, Lansdowne 15. 25. 75.
Newby 8. 41. Mosaic Holkham 30.
V. Ince 408
Cavendish, Lord, § 29. See Devonshire
Cawdor, Lord, § 54. 57. 63. 71. 86. 90.
St. Ince n. 36. 51. 82. //. Ince 215.
A'. Ince 303. 304. 310. Woburn 61.
lor. V. Deepdene p. 293. London,
Soane 38. Woburn pp. 722. 753
Caylus, Conte de, Paris, § 55
Ccrveteri § 95
Cesnola, Gen., § 94. R. Liverpool 8.

9. Glass Cambridge p. 267
Chace Price § 71

Chandler, Rich., § 24. 38. Sec Oxford
Chandos, sec Buckingham. Stowe
Chandos, Marquis of, Lowther 44.
Osborne 2

Chantrey, Francis, sculptor, § 82
Charlemont, Lord, § 38. n. 161. § 51.

65. 69
Charles I., King, §2. 13. 14. 16. 18. 19
Charles II., King, § 19
Charleton, see Courten
Charlotte, Queen, Windsor i
Chatsworth § 31, pp. 276 f.
Chaulnes, Due de, Paris, § 68
Chelsea § 30. 59. Brocklesby 66.

Winchester House p. 432
Chester, Greville, n. 477
Chichester p. 277
Chiffinch, Will., § 19
Chigi, Monsign., § 56
Chinnery, W. and G., § 90. p. 293
CJiios ■^. 185. 194. 199. 201
CmswiCK § 22. 33
Choiseul-Gouffier g 74. 92
Cholmondeley, Marquis of, see Hough-
ton Hair
Christie, art-auctioneer, London, Ince
p. 334. no. 137. 221.393. 412. Lon-
don, Bale
Chris.ina, Queen of Sweden, § 19. ^9
Churchill, Gen., Houghtoii 6
Chute : London, Wemyss
Cinci, art-dealer, Volterra, K. Cam-
bridge 80
Cintra (Portugal), pp. 240. 619
Civita Lavigna (Lanuviam) St. Ha-
milton 9. R. Rossie 103?
Clarke, Naples, Br. Ince 409
Clarke, Edw. Dan., § 67. Cambridge

pp. 241—252
Clarke, Geo., Capt., A'. Cambridge 30
Clarke, Hyde, Oxford p. 539. no. 159.
160. 171. 207. 214. 21S. 219. 224 —
226
Clementi, Abbate, //. Cambridge 46
Clumber Park p. 278
Cnidus § 93. St. Cambridge 6. T.

Edinburgh p. 298
Cnossiis (Crete) .SV. Tunbridge i
Cochelto, art-dealer, Rome, St. Ince 19
Cockerell, G. R., architect, § 73. 96.

Hillingdon
Coghill, Sir James, § 90. p. 293
Coke, see Leicester

COI.I.ECTORS, COLLECTIONS, SOURCES, ETC.

761

Colchester p. 278.

CWtf«Hfl (Labicum) S/. Brocklesby 113

Columbrano Palace, see Naples

Colvin, Sidney, n. 161. Cambridge i

CoHstanlinopU St. Richmond yi. Porta
Aurea § 9. 11. pp. 189— 19S

Conyngham, Lord, § 65

Cook, Francis, § 96. Sec Richmond

Cook, John Freeman, § 22

Cooke, G., n. 443

Corfu K. Canterbury 150

Corinth p. 201. 202. 203. Corinthian
puteal § 88

Coriuto § 48. 87. Br. Rossie 144. 145

Corsini, Prince Bartolommeo, § 41

Cottington, Lord, n. 32

Cotton, Sir Rob., § 13. p. 205. Cam-
bridge p. 269

Courten, Will., § 30

Coventry, Andr., p. 431

Cowper Temple, W., sec Broadlands

Crane, J. A., see Birmingham

Crete 6V.Tunbridge i. //. Tunbridge 2

Crichton, Maitl., pp. 431 f.

Cripps, J. M., Cambridge i

Cromwell, Oliver, § ig

Crowe, J. A., Consul, § 94

Ciiiiiac St. Cambridge 38. A". Rich-
mond 12

CU.NNI.NGTON p. 269

Curling, IL, see Ramsgate

Cj'/riis § 94. A". Oxford 127. 128. 7".

Canterbury 13. G/ass Cambridge p.

267
Cyrcne % 94. .9/. Edinburgh p. 29S

IiAi-KKirir Palace p. 278.

Dallaway, James, § 70

Ual Pozzo, sec Pozzo

•Dallon A". Piranesi, Fasi, 11. PI. 6(). 78

Dalton, Richard, draughtsman, § 6j.

London, Franks I
Dannecker, sculptor, § S3
Dashwood, Sir Francis, n. 159
Davis, Dr Nathan, § 94
iJawkins, IL, p. 539
Dawkins, J., n. 161. § 38. 65. Oxford

p. 539. no. 170. 177. 178. 201. 203.

211. 235. 236

Day, art-dealer, London, § 82

*Dean, Hugh, landscape painter, Pira-
nesi, Vast, I. PI. 46. 52

Deepdene § 61. 99. pp. 279—293

De Lisle, see Lisle

Delos § 14. n. 34. § 18. pp. 185. 197.
A'. Cambridge 29. 0.\ford 130? T.
Canterbury 14

Delphi C. Howard =3. Oxford 130?

De Mauley, see Mauley

Dempster, Thomas, § 34

Dennis, G., Consul, § 94

Denton Hall p. 294

Derry, Bishop of, see Bristol

Despuig, Cardinal, § c6

Dessau, Prince of, § 55

Devis, painter, § 54

Devonshire, Dukes of, § 31. 33. 38. 54.
65. .Sifi^Chatsworth. London, Devon-
shire House

Devonshire, Duchess of, § 87

Devonshire House, London, p. 432

Dick, John, Consul, p. 522. Newby
20. "Cavaceppi, Raccolla, i. PI. 23.
29

Dig''y> Sir Kenelm, § 13. I4. 18

Dilettanti, Society of, § 37. 38. 65. 73.
77. 79. 84. 85. 93. n. 477. § 96.
List of members n. 161

Dillow, Viscount, see Ditchley

Disney, John,§ 41. 87. 91. Cambridge
pp. 241. 2j5 — 267. Hyde

Ditchley p. 294

Dodd, chemist, R. Richmond 10

Dodwell, Edw., § 72. 87

Donaldson, Ph. L., architect, § 73

Dormer, Sir Michael, § 13

Dorset, Duke of, n. 159. 161. §59. Sec
Knole

Dorville, J. Ph., Lcyden, A'. Lowther53

Douglas, see Hamilton

Drake, C. F. Tyrwhitt, A'. Cambiiilgc
'4

Duane, Matthew, § 65

Duncannon, see Bessborough
Buncombe, Ch., n. 161. § 54. See Dun-
combe Park

DuNCOMBE Park § 54. pp. 294—296
DiJNROBiN Castle p. 296

762

Durand collection, Paris, § 87. 92. p.
293

*Earle, Egidio, A'. Tiranesi, I'nsi, 11.

PI. 29
EaSTON NeSTON § 12. 74. pp. 296 f.
Edinburgh § 87. 100. pp. 297 — 300
Edwards, J., bookseller, § 90. Deep-
dene p. 293. London, Soane 38
Egremont, Lord, § 29. 38. 43. 52. pp.

596 f.
Egypt § 79. 85. .SV. Cambridge 5. Ince

75. Wilton 99? H. London, Hamil-
ton I. R. Liverpool 7
Elcho, Lord, pp. 432 f.
Eleusis St. Cambridge i. R. Brock-

lesby 39
Elgin, Lord, § 74—84. See Broom

Hall. London, Atkinson
Elliott, H. V. and E. B., R. Cambridge

III
Ellis, Wellbore, see Mendip
Englefield, Sir Henry, n. 161. § 84. 90
Englefield Green § 87
Efhesos § II. 93. pp. 192. 194. St.

Oxford 159. 160. -A". Liverpool 6.

Oxford 207. 214. 218. 219? Woburn

219
Erbach (Hesse) Newby 24
Eremopolis (Crete) St. Cambridge 13
Erytlirae R. London, S. Kensington

13
Este, Antonio d', sculptor, Rome, § 47

St. Ince 4. 19. 37. 69. 70. 72. H.

124. 125. 127. 173. R. 275? 292
Etruria St. Cambridge 107
Evelyn, John, § 21. 32
Exeter, Lord, § 29. 54. H. Brocklesby

5. *R. Piranesi, Vasi, I. PI. 46
Eyres § 36

Fagan, Rob., § 48. 61. 62. 85. 87

Falcrii .6';-. Stanmore 4. 17

Fauvel, French consul in Athens, § 74.

75
Fawley Court § 22
Fazakerley § 82
Fede, Coute, § 48
Fejervary ivories § 97

Fellows, Sir Charles, § 92

Ferguson, James, n. 161

Fermor, see Lempster

Fesch, Cardinal, H. London, Apsley i

Feversham, Lord, see Buncombe Park

Ficoroni, Franc, de', § 33—36. 39.
Cista Ficoroni n. 155

FitzwiUiam, Lord, see London, We-
myss. Wentworth House

FiTzwiLLiAM Museum, Cambridge,
pp. 241 — 268

Flaxman, sculptor, § 82. 86. 87

Florence H. Cambridge 57. Br. Stan-
more 2. 7

Ford, Rich., p. 433

Forman, H., g 97. See Pippbrook
House

Fortnum, C. D. E., § 97. See Stan-
more Hill

Foster, Fred., n. 161

Foster, J., § 73

Fothergill, Capt., R. Liverpool 8

Foucault collection, Athies, R. Wilton
137

Fould collection, Paris, .SV. Lowther 5,
R. Lowther 60

Fountaine, Sir Andr., § 27. 33. See
Narford Hall. Mosaic Wilton 27

Fox, Ch., General, n. iCi. § 90

Fox, Henry, see Holland

France St. Woburn 1 4 1

Franks, A. W., n. 213. pp. 433 [.

Frascati, Villa Aldobrandini, § 86. R.
Woburn p. 722. no. 58. 69. 81? 86,
110. 117. 144

Frederick H., King of Prussia, § 55

Frederick, Sir Charles, § 36. 71

Frederick, Sir John, § 36. 38. 63

Freeman, W. P. Williams, n. 96. 477

Fiirietti, Monsignore, § 42. 51. Mosaic
Holkham 6. 7

Fuseli, H., painter, § 78

Cabii § 48

Gailhaud, Jean, § 38

Gandy, J. P., architect, S 73

Gel), Sir Will., n. lOr. S 72. 73. 84

Genzano S 4S

COI.LKCTORS, COLLECTIONS, SOURCES, ETC.

1^1

George IIL, King, § 29. 50. 5iY Wind-
sor Castle

George IV., King, § 92

Germain, Sir John, § 23

Geyn, Jaques <le, Dutch painter, n. 4 1

Gionelli, sculptor, Ince 60

Giraud, Consul at Athens, p. 5.^9

Glamis, Lady Charlotte, § 96. Addenda

Goethe § 83

Golovkin, Count, § 6S

Gordon, Duke of, § 51

Gorlaeus, Abraham, g 6

Graham, Sandford, § 88

Grantham, Lord, see Newby Hall

Greaves, John, § 16

Greece ^/. Ince 36. //. Brocklesby 15.
A'. Ince 310

Greenwich § 18

Grenville, George, St, Lowther i. See
Buckingham. Stowe. Temple

Greville, Charles, § 57

Grey, Lord, see Newby Hall

Grotta Ferrata (Alban Mount) § 48

Guelfi, sculptor, § 24. pp. 539 ff.

GuiLDHALl,, London, p. 434

Guilford, Lord, n. 161. § 88. 91. 96.
pp. 432 f. ^. Lowther 37. .SVi Corin-
thian puteal

Gurney, Hudson, n. 477

Hadrian's Villa, see Tivoli

Halicarnassiis § 92. 93

Hall, Chambers, n. 477. P. Oxford

129
Hall, Thomas, § 23
Hamilton, Duke of, n. 161, § 96. See

Hamilton Palace
Hamilton, Gavin, painter, § 43. 44. 46

— 49- 52. 5.^- 55—57. 59- ^°- 6'- ^^■
pp. 436. 596. St. Ince 12. Knole 2.
London, Lansdowne 3. 4. 6. 12. 13.
39. 41. 49. 63. 65. 68. 70. 76a. 78.
83. 85. 87. 89. gr. 106. 108 — no.
Lowther i. fi8. Marbury 6. 15. 20.
Margam 3. 5. Newby 20. 28? Pet-
worth 6. //. Ince 96. Knole. 6. 12.
London, Lansdowne 7. 8. 14. 37.
38. 53. 62. 64. 86. 88. 90. 93. 107.
Margam 9. 11. 14. A'. London,

Lansdowne 2. 76. 77. 96. Oxford

241. 242. Warwick r
ILamilton, Sir Will., n. 161. § 38. 41.

56. 57. 6r. 63. 64. 66. 68. 71. 74.

pp. 240. 293. Warwick i
Hamilton, W. R.,n. 161. § 74—76- "9

—82. 84. 85. 92. pp. 434 f.
Hamilton Palace, pp. 300 f.
Hancarville, § 56. 57. 63. 68
Hannover, Palace of Herrenhausen, § 53
Hanwortu, § 59
Hare, Mrs, p. 268
Harley, see Oxford
Harrison, architect, § 74
Hartington, see Devonshire
Harvey, Bridges, R. Cambridge 29
Hawkins, John, n. 161. § 67. 85. 92.

See Bignor Park
Hay, Dnimmond, § 85
Hay, R., Edinburgh p. 298
Ilaydon, B. R., § ;8. 81—83
Hayter, Sir George, § 86. Woburn

p. 722
*Hayward, Rich., sculptor at Rome.

R. Piranesi, Vasi, I. PI. i. 17
Hcithcote, Rob., Ince 12
Henry, Prince of Wales, § 1
Herbert, see Pembroke
Hereulatuuin St. Windsor i. //.

Blenheim r
Heriott, widow, n. 32
Herrenhausen, see Hannover
Hertford, Marquis of, St. Lowther 2.

H. Lowther 22 — 24. 72. 74. 90 — 92.

R. 94
Hertz, B., § 95. 97. St. Osborne 5.

H. Osborne i. Br. Stanmore i
HiLLiNCDON Court p. 301
Ifistiaea (Euboea) T. Canterbury 54
Hoare, Sir Rich., see Stourhead
Hobhouse § 79. See Broughton
Holkham Hall § 34. 42. 85. 99. pp.

302—320
Holland, Lord, n. 161. § 41. 85. See

St Ann's Hill. 5/. Woburn 201.

*R. Piranesi, Vasi, I. PI. 52
Holland House, London, p. 435
Hollar, W., engraver, § 15. Oxford 56
llollis, Thomas, n. 127. § 29. 41. 45.

764

87. Cambridge p. 241. no. 39. 41.

47—52. 60. 76. 77. 81—83. 85. 94-

Hyde
Hope, General, § 54
Hope, Thomas, n. 161. § 61. 62.

84. 85. See Deepdene
Houghton Hall § 41. 42. 52. pp.

Hovingham p. 324

Howard, jf^ Arundel. Carlisle. Norfolk

Howard, Henry, Duke of Norfolk, §

II. 21. 22. pp. 538 f.
Howard, Henry Frederick, Earl of

Aioindel, § 20
Howard, Castle, § 35. pp. 325—332
Hunt, Dr Phil., § 75. 82. 86. Woburn

P- 723
Hyde, the, §41. 87. p. 333

ICKWORTH § 62. p. 333

Ince Blundell Hall § 58. 60. 85.

99- PP- 333—415
Italy, Lower, see Magna Graecia
Ithaka Gold: London, Burlington

House

James, Rich. , § 1 1

Jenkins, architect, § 73

Jenkins, Thomas, banker and art-
dealer, Rome, § 41. 45—51. 53. 56—
59. 62. 68. St. Boynton i. 3 — 5. Ince
8. 44. Knole i. London, Lansdowne
61. Marbury 15. Margara 2. Newby
16. 20. 24. 28? //. Boynton 2. Ince
107. 131. 179. 182. 183. Knole 6. 12.
Marbury 28. R. Boynton 6. Brock-
lesby 86. 87. Ince 304. Marbury 36.
Woburn loi

Jennings, H. Const., § 54. 71. 6'/. Dun-
combe I

Jersey, Lord, see Osterley

Jessaint, Vicomte de, Br. Richmond
29

Jones, London, S. Kensington 18

Junius, Francis, § 16

Kameiros, see Camirus

Kanawdt (Syria) R. Cambridge 14

Karatash (Mallos, Cilicia) R. Liverpool

10
Kavalla (Neapolis, Turkey) p. 196
Kemp, John, § 28. p. 539
Kent, Will., architect, § 34. 42. Holk-

ham 24. 31. 49. 50. 53
Keos (Zia) pp. 200, 201, 204
Kephissia (Attica) St. Oxford 177
Kcrtch (Crimea) § 94
Ketteringham Hall p. 415
King, C. W. , Cambridge 115 — 117
Kingsgate § 41
Klmgston- Lacy pp. 415 f.
Kinnaird, Lord, § 87. See Rossie Priory
Kinnard, architect, § 73
Kirkham p. 197
Knidos, see Cnidus
Knight, R. Payne, n. 161. §67 — 69.71.

77. 81-84
Knole § 59. pp. 416 — 423
lOiossos, see Cnossus

Lakedaemon pp. 201. 203

Lalo, Naples, § 90

Lampsakos (Asia minor) § 6. pp. 187 f.

Lansdowne, Marquis of, § 60. 71. See

London, Lansdowne House
Lansdowne, Henry third Lord: Lon-
don, Lansdowne p. 437. no. 57. 59?
Lansdowne House, London, § 60.

69. 85. 99. pp. 435—471
Lanuvmm, see Civita Lavigna
Lawrence, Th., painter, § 82. n. 395
Layard, .Sir A. H., § 93
Leake, W. M., Col., n. 161. § 72. 85.

Br. Cambridge 102 — 106
Lecce (Italy) V. London, Soane 38
Leconfield, Lord, see Petworth
Lee, Fiott, R. Cambridge 23
Lefroy, Anth., R. Oxford 237
Legh, Thomas, § 88
Leicester, Robert Sidney, Lord, n. 28
Leicester, Thomas Coke, Lord, § 29. 34.

36. 42. See Holkham. London,

Leicester; Wemyss
Lely, Sir Peter, § 19. 28
Leiiiiios St. Hamilton 7
Lempster, Loid, § 22. 24. Oxford, p.

539

COLLECTORS, COLLECTIONS, SOURCES, ETC.

765

Lennox, s,v Richmoml

LethieuUicr § jCi

Lisandroni, scul[itor, Rome, S/. Ince

37. 42. //. Ince 127. A'. 275? 292
De Lisle and Dudley, Viscount, sfe

Penshurst
LiVERrooL § 97. too. pp. 423 — 428
Lloyd, W., //.Cambridge 52. A'. Cain-
bridge 39. 76. 77. 86
Lloyd, W. Watkiss, n. 161. 478
Locke, W., §51. 54. 71. Duncomlje 2.

Newby 24
Londesborough, Lord, § 97
LONDON pp. 428—487. Besides j<v;
Arundel House § 14. 16. 17. 20.

21. 22. 23
British Museum n. 127. § 29. 30.
40. 52. 61. 63. 65. 67. 68. 71. n.
33<5-§ 72. 73- 79- ^3- 84. n. 420.
§ 87 — 96. 100
Carlton Mouse : Windsor i
Cuper's Garden § 22
St James' Palace § 14. iS. 19
Montagu House § 30
Somerset House § 14. 18
Tart Hall § 20. 28
Whitehall Palace and Gar-
den § 18. 19. Richmond 6.
Windsor XXVII
York House § 8. 19
Lonsdale, Lord, § 96. Set- Lowther

Castle
Lovel, Scr Leicester
Lmvcr Italy, see RLigna Graecia
Lowtheb Castle § 96. pp. 487 — 500
Ludwig, Crown Prince of Bavaria, § 80.

81. 87
Lung/uzza (Campagna of Rome) //.
Ince 117. 120. 148. 163. 182. 183.
193. 198. 199
Lusieri, Tita, painter, § 74. 76
Lycia § 92

Macgowan p. 433

McLeay, Geo., § 96. London, S. Ken-
sington I — 17
Macmichael, Dr, § 88
M.icpherson, Sir John, § 54

J/rti,'«a Graecia R. Brocklesby 64. V.

Canterbury 167. Woburn p. 753
Magnoncourt collection, Paris, p. 293
M.ilcolm, Sir Pultney, Cambridge 31
Malton, see Rockingham
M.ann, Hor., sec London, Wemyss
Mansel-Talbot, Thomas, § 59. See

Margam
Mantua collection § 14. 18
Marathon Br, Richmond 63
Marbury Hall § 59. 85. pp. 500—

.S'5
Margam Abbey § 59. pp. 516 — 522
Markham pp. i86f.
Marlborough, George Spencer, third

Duke of, § 23. 35. n. 161. § 50. See

Battlesden. Blenheim
Massimi, Cardinal Camillo de', § 29.

London, Franks il, Windsor xix
Mauley, Lord de, § 96. p. 472. London,

S. Kensington 18
Mausoleum § 92. 93. 95
Mayer, Jos., § 97. See Liverpool
Maxwell, Colonel, § 22
Mazarin, Cardinal, § 19. 26. — Due de,

§ 26. — Collection, Paris, Wilton pp.

667—669. 5/. Richmond 2 ?. Wilton

5. 8? 10? 14? 22. 68? 70. 74. 112?

ii6. iig. 124? 132? 144. 145. 146?

151? i58(z. 159. 170. 175. 231. 234?

H. Wilton 2? 3? 6? 9? II? 12? 15?

16? 24? 29? 30? 39? 40? 42? 43? 51?

.S5? 63. 64. 65? 66. 67? 69? 73? 79—

81? 84? 88? 90. 93? 103? 107? no.

122? 123? 127. 128? 134. 141? 142?

149? 150? 158? 161. 166. 168? 173?

179—182? 183. 184? 185. 186? 188.

189. 190? 191. 194? 196? 197? 200?

201. 202? 203? 204. 206? 20S. 212?
215? 216? 217. 218. 219 — 222? 225?
226. 227. 228? 229? ^. llli. 31. 61 ?
71? 85? 121. 163

Mead, Dr Rich., § 20. 29. 41. 50. 65.

St. Ditchley, Stourhead, 2. //. Went-

worth House. R. Holkham 46.

Drawings Windsor xix
Megara St. Brocklesby 26. R.

Brocklesby 14. 34. V. Canterliury

766

Mellhuish, statuary mason, p. 472

Mendip, Lord, § 38. 41. 71. SI. Ince
58. 98. //. Ince ■217. R. Ince 371

Mertens-Schaaffhausen, Sib., Bonn, Br.
Richmond 25

Methuen, Sir Phil., § 29

Middlesex, see Dorset

Middleton, Conyers, § 30. 36. 41

Millingen, James, § 85 — 87. 90. 91. Si.
Woburn 205. Ji. Wobum 99

Mills, see Hillingdon Court

Milward, Rich., p. 185

Mimaut collection, Alexandria, § 92

Miollis, General, § 87

Modena, Duke of, collection, Rich-
mond 13

Mogla (Caria) Br. Stanmore i

Monaldi, Carlo, sculptor, Rome, § 42.
Holkham 18

Montagu, see Monthenner

Montagu, E. Wortley, § 65. Cambridge
p. 269. no. 109. no. 112. 113

Montagu, E. Wortley, son, n. 161

Monte Cagnuolo § 48

Montgomery, Lord, § 13. See Pem-
broke

Monthermer, Marquis of, n. 161. § 54.
p. 278

Monti, Vine, sculptor, Naples, Cam-
bridge 66

Montserrat (Cintra, Portugal) p. 619

Mordaunt, Lady Mary, § 23

Morritt, J. B. S., no. 161. § 67. 82. See
Rokeby Hall

Morritt, W. S., § 84

Munich, Glyptothek, no. 155: n. 129

Murphy § 65

Murray, Lord, § 87. Edinburgh p. 299

Mussell, n. 127. § 29

Naples j'l'. Cambridge 93. //. Ince 100.
152. R. Richmond 57. 58
Palazzo Caraffa-Columbrano § 47.
St. Knole i. R. Brocklesby 64.
Marbury 36. Margam 2
Royal collection V. C. Howard
66
Napoli di Romania (Nauplia) p. 203
Narford Hall p. 522

Naimrlh Castle Br. C. Howard 63

A'axos T. Canterbury 4. 143

A^emi § 48

Ncttiiiio H. Holkham 40. Ince 126

Newby Hall § 53. 85. 99. pp. 522 —

535

Newcastle, Duke of, see Clumber Park

Newdigate, Sir Roger, Oxford 241. 242

Newton, C. T., n. 161. § 93. 94. pp.
298. 540. 670. 716

Nice, Daniel, § 17

Nimes R. Ketteringham i

Nimrud R. Woburn 239

Nineveh § 92. R. Woburn 240

NoUekens, sculptor, § 46. 47. 53. 54.
82. Newby 23

NORBURY Park § 54

North, Brownlow, Bishop of Win-
chester, § 59. p. 433

North, Frederick, see Guilford

Northampton, Marquis of, n. 161. § 87.
n. 452. § 92. See C. Ashby

Northwick, Lord, n. 161. § 68. R.
Lowther 60

Norton, P., n. 4S1

Nott, Dr, § 87

Nugent, Lord, n. 481

*Nulty, Matth., Piranesi, Vasi, 11. PI.

O'Halley, Edw., Stanmore i

Olympia § 67, n. 432

Orford, Robert Lord, § 41. 42. 52.

See Houghton Hall. Walpole
Orsini, Fulvio, R. Brocklesby 86. 87.

Marbury 40 ?
Orvicio Br. Ince 171
Osborne pp. 535—538
Ossory, see Upper Ossory
OsTERLEY Park p. 538
Ostia § 48. 61. 85. St. Dcepdene 7. 39.

Ince 8. London, Lansdowne 89.

Marbury 20. H. Ince 91. London,

S. Kensington 18
Oudinot, General, ?'. London, Soane 38
Oxford § 21. 24. 30. 100. pp. 538 —

595
Oxford, Lord, § 29. p. 539

COT.LECTORS, COLLECTIONS, SOURCES, ETC.

7G7

racelti, sculptor, Rome, § 47. //. Ince

III. 172
Pacili, sculptor, Rome, St. Newby 20
/'a/tMVWHa (Praencslc) j\'. IncciiS. /'.

Wilton 205?
r.ilmerston, Lorcl,§ 3S. n. 161. § 53. 65.

71. See Broadlands. *A'. Pirancsi,

Vast, I. PI. 28
Palmyra § 65

Paphos (Cyprus) St. Cambridge 7
Paramythia (Albania) § 67. 68. Br. Big-

nor I. 2
Paris, see Beaujon. Beugnot. Blacas.

Caylus. Chaulnes. Durand. Fould.

Jessaint. Magnoncourt. Mazarin.

Parois. Pourtales. Rollin
Parois collection, Paris, Deepdene p.

■293
Parosf^. 197. 199. iP. Brocklesby 17
Pars, \V., § 38. n. 236. § 65
Pashley, R., K. Cambridge 31
Patmos K. Cambridge 24
Patras pp. 197. 203 f.
Peacham, H., § 14
Feiresc, Claude de, §5.11
Pella (Macedonia)' St. Oxford 240
Pembroke, Lords, § 13. 22. 25 — 27. 35.

87. See Wilton House
Penrice Castle p. 595
Penrose, F. C, n. 161. § 96
Penshurst n. 28. § 41. pp. 595 f.
Pergamon § 11. 12. 93. pp. 192. 196 f.

R. Cambridge 30. London, S. Ken-
sington 17. Oxford 20S
Pernie, Captain, Liverpool 10
Perry § 41. p. 596
Penigia li. Cambridge 66?
St Petersburg, Ermitage, § 52
Petre, Lord, p. 543
Petty, W., § 7. 9—12. 16. pp. 187— ;oo.

202. 204. 540. 543
Petworth House § 43. 52. 69. S5.

Lowther 3. pp. 596 — 617
Phanagoria (Crimea) R. Cambridge 25.

27
Phigalcia, see Bassae
yAiVi/// (Macedonia) p. 196
Philipps, Mark, n. 481
Piccola. Nice, la, art-dealer, Rome,

§48. .9/. Ince 17. 30. 32. 60. Mosaic
Ince 411

PippBRooK House p. 618

Piranesi, engraver, § 47. 51. // Ince
195. R. Ince 401. 404

Pizzati collection, Florence, § 87

Pollexfen, J. H., see Colchester

Pomfret, Lord, § 24. See Easlon-Nes-
ton

Pomfret, Henrietta Louisa, Countess of,
§ 24. Oxford p. 539

Pompeii § 86. Pr. Richmond 32. Wo-
bum 128. P. Oxford 129

Pond Holkham 2

Poniatowsky, Prince, § 56. Ince 198

Ponsonby, see Bessborough

Ponsonby, Ashley G. J., n. 479. Lon-
don, S. Kensington 18. 19

Populonia {^ixMm) If. Cambridge 56?

Porcher, E. A., § 94

Porson, Rich., § 72

Portland, Duchess of, §41. 64. 7t

Portland Vase § 64

Potocki, Count, § ;6

Pourtafe-Gorgier, Conte, Paris, §87.95

Pozzo, Cassiano dal, § 60. Lcjndon,
Franks I. Windsor I — -WI

Pozzuoli St. Wilton 112? R. Cam-
bridge 81. Richmond 12

Praeneste, see Palestrina

Prieiie (Ionia) § 93. 96

Propontis R. Cambridge 22

Pullan, li. P., § 93. 96

Pulszky, Fr., § 9;. 97. St. Richmond
5. 6

Quatrcmere de Quincy § 83

Railton, architect, § 73
Ramsay, General, § 87. 91
Ramsgate p. 618
Raphael § 34. Holkham 61
Rawlinson, Oxford p. 539. no. 162. 164.

179. 186. 188. 189. 196. igJj. lyy.

220. 222. 223. 232—234
Rawlinson, -Sir H., § 93
Redclifie, see Stratford
Revett, Nich., n. 161. § 3S. 44. 6j
Rhamnus (Attica) § 73

768

INDEX I.

Rhencia § 6. R. Oxford ^(> — 104? 209?

See Archipelago
Rhodes § 94. R. Edinburgh 6
Rhodes, J., p. 432
Ribchester R. Cambridge 118
Richardson § 36
Richelieu, Cardinal, § 26
Richmond § 96, pp. 619—643
Richmond, Duke of, § 54
Robertson, A., n. 481
Robinson, Sir Thomas, § 59. Rukeby

p. 647
Rockingham, Marquis of, § 29. n. 161.

§ 38. 41. See Wentworth House
Roe, Sir Thomas, § 6 — 13. pp. 185 —

205
Roehampton § 36. Ince 307. See Bess-
borough
Rogers, Sam., n. 161. § 85. 97
Rokeby, Lord, see Denton Hall
RoKEBY Hall § 59. 67. pp. 643 — 648
Rollinand Feuardent, art-dealers, Paris,

Richmond 63
ROME. St. London, Ford. Oxford

43 — 45. P. Rossie 161

Collections.
Albani § 39. 42. 47. 62. See Al-

bani
Altieri § 47. H. Ince 134. 134(7.

R. 271. 272. 282
Araceli, staircase of, R. Woburn

81? 117
Archiconfraternita della SS. An-

nunziata St. Holkham 36
Barberini §40. 47. 52. 56. 87. St.

Margam 3. Newby 20. Pet-
worth 15. 19. //. Cambridge 4 1 .

Petworth p. 617 no. 37. R.

Broadlands 1 1
Borghese § 48
Borioni § 40. 47. St. Ince 7. 79.

80. H. 93. 113. 176. 210. R.

222. 246. 258. 297. 302. 340.

391
Braschi n. 423
Capitoline Museum § 39. 47. //.

Holkham 53. Addenda
Capodiferro, see below Spada

Rome (Collections) eontintied) —

Capponi § 47. St. Ince 29. 35. 76.
//. Ince 92. 197. R. Cambridge
77. Ince 248, 249, 259?

Cavaceppi, see Cavaceppi

Cavalieri R. Cambridge 76

Chiaramonti, see below Vatican

Chigi § 39

Colonna § 92

Consiglieri St. Holkham 24

Farnese § 55. 95. Farnesina § pf.
R. Marbury 40?

Giustiniani § 27. 39. 52. R. Ince
305? Woburn 148. Cf. Wilton
pp. 666 f.

Lante § 47. 86. St. Ince 8. R.
Woburn loi

Lateran Museum § 87

Massimi § 52. R. Blenheim 3

Mattel § 47. 58. 59. St. Ince i. 10.
13. 16. 20. 24. 26. 31. 46. 48. J4.
J5. 57. Lowther 68. Marbury
2. 3. 10. II. 13. //. Ince 84 —
87. 121. 133. 136. 143. 168. 186,
London, Apsley I. Marbury 14
R. Boynton 6. Ince 230. 231
240. 241. 296. 311— 314. 317,
319—325- 328- 330—332. 334
343- 345- 347- 354—359

Medici § 55

Montalto-Negroni-Massimi § 47.
58. St, Duncombe 2. Ince y.
//. Ince 107. 131. 169 — 171. 212.
R. Brocklesby 86. 87. Ince 304

Odescalchi § 39

Orsini R. Ince 258

Ottoboni § 40. St. London, We-
niyss. H. Hamilton 6

Porcari A". Woburn no

Rondinini § 86. //. Woburn 150

Sacchetti § 40

San Fiore, Cardinal, "/resso la
eliiavica di S. Lucia " R. Lon-
don, Soane 26

.Spada § 52. St. Lowther 3. R.
Broadlands 30

Status, Chr., sculptor, R. Oxford
155

Valle R. Blenheim 3

COI.KECTORS, COl.T.FrXIOXS, SOURCFS, KTC

"69

RoMK: Collections continued—

Vatican Museum g 48. 55. Museo
Chiaramonii § 87

Vcrospi § 52

Vcttori§43. ^/. Duncombe 2. Pct-
worlh 5

Excavations, &c.

Excavations made for Lord Arun-
del § 4

Agrippa, Baths of, § 87. St. Os-
borne J

near 5. Alcssio H. Broadlands 7

ConsiantincU arch H. Ince 140?
141?

Circtts Maximiis Lowther94?

near S. Croce in GcrnsaUmme //.
Ince 9

Fonscca Villa (Caelian Hill) § 48

near the Forum St. Ince 49

near S. Giatanni in Latcrano
H. Holkham 47

Magmini Villa (Palatine Hill)
St. L„.idon, Lansdowne 78

under Villa Mattel (Caelian Hill)
R. Wilton 13 a

^. Maria Maggiore 11. Ramsgate,
p. 619?

near Palatine I/ill H. Ince, IJ4.

Palomhara Villa (Esquiline Hill)
§48

near S. Pictro in Vaticaiw .St.
Lowther r

near S. Susanna (Quirinal Hill)
St. Ince 9

Trastmere St. Ince 61
Rome, neighbourhood, excavations: -SV.
Ince 4. 12. 21. Pctworth 6. //.
London. Hamilton 2. Lansdowne jj

near S. Agnese, (Via Nomentana)
//. Cambridge 55

Alexander Severus' Villa (V. Os-
tiensis) St. Lowther 13

near Caecilia Metella (V. Appia)
//. Ince 147. 179. R. Cam-
bridge 84. , Lowther 44

Circus of Maxentius (V. Appia) § 4

Columbarium of the freed men of
Livia (V. Appia) § 36. R. Wil-
M. C.

ton 60. III. 129. 143. 155. Cf.
Windsor XVII
Gordian's Villa (V. Praenestina)

St. Ince 22
Mamma St. Ince ig
Monte Mario St. Ince 72
Monte Rosario (V. Portucnsis)
Mosaic Rossie 136. Woburn 22S
Prima Porta (V. Klaminia) § 48
Roma Vecchia (V. Appia) § 48. 87.
.SV. Knolc 2. // London, Lans-
downe 93. A'. London, Lans-
downe 2
Taiuta di Saloiu (V. Praenestina)

St. Ince 30. 32. //. 108
Tor Colombaro (V. Apjiia) § 48.
St. London, Lansdowne, 63. 65.
83. Marbury 6. 1 5
Tor Pigtiatara (V. Labicana)

Mosaic Ince 410
Torre tre teste (V. Praenestina)

St. Boynton i
]'ia Appia, % 48, 87. St. Woburn
204. 205. //. Ince 147. 151. R.
Woburn 104
Via Laviniensis II. Ince 97
Via Porlucnsis St. Ince 77
Via Praenestina H. Ince 102. 1S4.

18.S.
See Albano. Castel di Guido. Co
lonna. Frascati. Gabii. Genzano
(Jrotta Fcrrata. Lunghezza
Monte Cagnuolo. Ostia. Pales
Irina. Tivoli. Tusculum. Velletri
Koos, Lord, § 13
Rossi, sculptor, § 81. 82
Rossie Priory § 87. pp. 648 — 658
Roxburghe, Duke of, § 36
Rubens, P. P., § 8
Rusconi, Camillo, sculptor, Rome,

Holkham 24
Rushout, see Northwick
Ruskin, Oxford, 127. 128
Russell, Lord Geo. Will., S 86. Wo-

bum p. 722
Russell, Lord John, § 94
Ruthven, Lady, § 88. See Winton Castle

.Sackvillc, Lord, see Knole

770

Salisbury p. 63S

Saloniki p. 191

Salzmann § 94

Samos § II. pp. 192. 194. 195. T.

Cambridge 5. 6. 13
Santorino (Thera) p. 199
Sardinia § 95
Scott § 65
Selden, John, § 11. Oxford pp. 538 f.

no. 147. 149. 150. 152. 205
Seymour Burt, Mrs, see Pippbrook

House
Shaw, Thomas, Oxford p. 539. no. 11%.

229
Shelburne, see LansdoMne
Shobden § 59. p. 658
Shugborough § 41. n. 174. St. Bir-
mingham I. 1. Lowther 64. 65.

Richmond 40
Sibson St. Woljurn r 1 1
Sicily § 86. 87. 94. R. Richmond 56.

81. Wobum 61
Sidney, see Leicester
Sigcion R. Camliridge i?
Sinopc Yf. 202, 203
Siris, bronzes of, g 84
Skyros p. 197
Slade, Felix, § 90. 91
Sloane, Dr Hans, § 30
Smith, Consul, § 50. Windsor 2 — 4.

XXIV
Smith, J. Spencer, R. Cambridge 22
Smith, R. M., § 94
Smith Barry, James, n. 161. § 59. ^5.

n. 477. See Marliury Hall
Smugglewicz, Franc, Windsor xxv
Smyrna § 6. II. 65. 89. pp. 185. 187.

195. St. Cambridge 117. Oxford

1 — 9? 10 — 15? R. Ince 274. 366?

394? London, S. Kensington 13, 16.

Lowther 52 — 58. Oxford 89? 90? 136?

137? 147- M9? '5°'' '52? 2°4'' 205?

Richmond 67. 68. Wilton 109? Cf.

Asia Minor. Br. Chatsworth 6
Soane, Sir John, S 78. 90. 91. p. 473
SoANE Museum, Lundon, § 90. |)p.

473—481
Society, Royal, London, § 2 1
Soissons Br. Richmond 29

Somerset, see Beaufort. Egi'emont
Somerset, Lady, Windsor 4
Sondes, Lord, § 88

South Kensington Museum, Lon-
don, pp. 481 — 485
Spence § 38

Spencer, see Marlborough
Spencer, Lord, see Wimbledon
Spencer, Lord Charles, § 23
Spratt, J. A. B., n. 477. § 96. St.

Cambridge 13. ^'c^ Tunbridge Wells
Stafford, Lord, § 20. 28
Stafford House, London, p. 485
St Alban's, see Alban's
Stanmore Hill § 97. pp. 659 — 661
St Ann's Hill, see Ann's Hill
Stewart n. 127. § 29
Stockholm, Museum, § 56
Stosch, Philip Baron, ^ 45. n. 215. St.

Ince 63
Stourhead HoUSEg 4I.p. 661
Stowe§ 59. 87.91.96. 97. .SV. Hamil-
ton 7 — 9. Lowther i. 3. 12. 13. 15.

68. Osborne 2. H. Lowther 21.

109. no. A'. Lowther 43 — 45. 107.

108. *riranesi, Vasi, i. PI. 15. 16.

4'
Strafford, Lord, see Wentworth Castle
Strangford, Lord, § 89. 91, Canterbury

p. 272
Stratfield Save p. 662
Stratford de Redcliffe, Lord, n. 161, §

92.93. .SV. Richmond 3 a
Stratonikcia (Caria) H. Cambridge 10
Strawberry Hill § 30. 41. 8-;. 91.

St. London, W'emyss. //. Hamilton

6
Strickland, Sir G., § 59. See Boynton
Strozzi collection, Florence, § 95
Stuart, James, n. 161. § 38. 44. 65
Sussex, Duke of, § 62
Sutherland, Duke of, see Dunrobin

Castle. London. Stafford House.

Trentham Hall
Swinney, Dr, § 65
•Synnot, Mrs Jane, I'iranesi, Vasi, II.

V\. 67
Syracuse R. Oxford 224 — 226. T.

Canterlniry 155

Dl.l.KCTOUS, COLI.IXrriONS, SOURCES, F.TC.

Talliam, C. H., n. 443

Tavistock, Marquis of, § 49. 86. \Vo-

burn p. 732. no. 171. 210
Temple, Sir William, § 88. 91
Temple, Lord, § 38. ^,v Buckingham
Tetios p. 197. A'. Oxford 93
Thasos p. 1 96
Thebes (Boeolia) p. 103
Thebes (Egypt) I.<jndon, Sonne 38
Theobald, James, § 23
Thoms § 63
Thorpe § 58. Ince p. 334. no. 9. 22. 37.

34- 118. 161. 243
Thrace .S/. Wilton 144?
Tischbein, Wilh., p.-inter, n. 272. § 64
Tivoli //. Ilolkham 53. Ince 1 11. K.
Ince 22 r. Mosaic 411
Villa d'Este § 47. 58. ^9. St. Ince
2. 3- 28. 37. 42. 43. 45. 52. 78.
Marbury i. //. Ince 123. R.
Ince 221. 393
Tivoli, neighbourhood :
Pianella di Cassia § 48
FiUa of Iladtian n. 145. § 48. 86.
87. St. Deepdene 8. Ince 2. 3.
34- 37- 42- 43- i^'- London,
Lansdowne 39. 49. 61. 65. 70. 85.
91. Margam;;. /i'. Knole 6. 12.
London, Lansdowne 38. 62. 64.
81.88.90. Margam 9 — 12. K.
London, Lansdowne 76. 7612.
Oxford 1^1. 242. Warwick i.
Wobum 101.147. P. Brocklesby
36. Mosaic Holkham 6. 7. 30.
Archii. Wobum 36 — 42
Villa of Varus St. Cambridge 36
Topham § 65

Townley, Charles, n. 161. § 46. 52. n.

248. § 56—59. 65. 69. 71. pp. 334.

433. 596 f. St. Ince 30. 43. London,

Lansdowne 61. //. Brocklesby 15

Tradescant § 30

Trentanove, Raim., Rome, St. Cam-
bridge 55
Trentham Hali. p. 662
Tresham V. C. Howard 66
Troy^d. 12. pp. i86, 187. 196. 197
Trugoni, Florence, H. Cambridge 57
Tucker, J. ScntI, n. 477

Tumicll, II., St. Cambridge 38
TuNBRincE Wells § 96. pp. 662 f.
Tusculiim H. London, Crichton
Twickenham n. 174
Tyrwhitt, Thomas, § 65

Ulenbroek, G., Leyden, R. Lowlher 53
Upper Ossory, Lord, § 69. St. Woburn

20t
Ursinus, see Orsini
Ulica % 94

V.-illclla collection, Naples, S 27. Wil-
ton p. 669. //. Willon no. 46. 94.
192. 193. 195
Vandcrborcht II. % 16
\anderdoort, Abr., § 18
Velletri, Villa Ginnetti, St. Holkham 34
\'enice p. 202. R. Cambridge 94

Grimani-Spago Palace R. Rich-
mond 67 — 69
Vere, Lord, § 59. 71
Vernon, Essex, R. Oxford 147
Vernon, Mrs, Twickenham, .SV. Hough-
ton I. 2
Vernon, Lord, n." 420
Vertue, George, engraver, § 24
Vescovali, art-dealer, Rome, R. Cam-
bridge 66
Victoria, H. M. (^uecn, n. 481. Os-
borne 2. 3. 5
Villa of Hadrian, sec Tivoli
Visconti, Ennio Quirino, § 55. 58. 66.

80. 82

r/<7t7;<w (Aetolia) j5r. Cambridge 102

Volpato, engraver and art-dealer, Rome,

.S7. Ince 8. 89. //. Ince 96. 120. 139.

152.188. .^. Ince 380.404. Woburn

lOI

\'yner. Lady Mar}-, see Newby

Waller, Edm., § 22
Walmoden, H. L. von, § 53. 55
Walpole, Horatio, § 29. 30. 41. Lon-
don, Wemyss. See Orford. Straw-
berry Hill
Walpole, Rob., §67. Cambridge 6. 10
•Walter, Edw., see Berry Hill
Waltiiam Place § 22

49—2

^^2

Ward, Geo., Northwood Park : Osborne

Warwick, Lord, § 64. See Warwick

Castle
Warwick Castle pp. 663 f.
Weddell, Will. , § 38. n. 1 6 1 . § 53. See

Newby Hall
Wedgewood, Jos., § 63
Weld-Blundell, Thomas, see Ince
Wellington, Duke of, see London, Aps-

ley House. Stratfield Saye
Wemyss, Lord, p. 486
Wentworth Castle p. 664
Wentworth House § 41. p. 6C5
Werry § 94

West, Benj., § 78. 79. 82
Westmacott, Sir Rich., n. 161. § 82. 84

— 86. pp. 486 f. 670. //. Woburn 59.

77
Wheler, Geo., § 32. Oxford p. 539. no.

151. 153. 163. 180. 181. 227. 230
Whitaker, T. Dunham, R. Cambridge

118
White Ridley, Sir M., § 29
Wiessiolowski § 68
Wigan, E., § 95
Wilkins, W., n. 161. § 82
William IV., King, § 92
Wilton, sculptor, Holkham 55
Wilton House § 25 — 27. 35. 99. pp.

665—715
Wimbledon § 52. pp. 716. 717

Winchelsea, Lord, n. 98. § 28
Winchester House, Chelsea, p. 432
Winckelmann § 50. 51
Windsor Castle§ 29. 60. pp. 717 — 72 1
Winthringham, Sir Clifton, St. Cam-
bridge 114
WiNTON Castle § 88. p. 7 i 2. Addenda
Woburn Abbey § 86. 99. pp. 721 — 753
Wolff, Emil, sculptor, Rome, Brockles-

by 103
Wood, J. T., § 93
Wood, Robert, n. 161. § 38. 65
Woodhouse, James, § 89. 91
Worksop Manor § 22. p. 543
Worsley, see Hovinghara
Worsley, Sir Rich., n. 161. § 66. 71.

See Brocklesby Park
Wyndham, see Egremont
Wyndham, William, Petworth 51

Xanlen (Castra Vetera, Germany) Br,

Liverpool 15
Xaiithos (Lycia) § 92

Yarborough, Lord, § 54. 66. 69. See
Brocklesby Park. London, Yar-
borough

Young, Patrick, § 11

Zanetti, Conte, Venice, § 50

Zelada, Cardinal, § 56

Zoati (Egypt) Br. Cambridge 106

II.

DRAWINGS AND ENGRAVINGS.

Articles of which the Catalogue contains no description arc marked liy an *.

DR.A.WINGS.

Berlin. Coda Pighianus (cf. p. J09).

No. 96 {fol. 309) Newby 8

«-5(fol. 3=5)

Lowther 42

163 {fol. 348)

Wilton 163

171 (fol. 286)

Wobum 148

176 (fol. 274)

J82 (fol. 328)

London, Soane 16

214 (fol. 255)

Woburn no

BrI/'N'swick, Grand-ducal Museum.
Volume of drawings Ince 63

Cambridge, Trinity College, R. 17. 3.

fol. 18 Blenheim 3

COBURG. Codex Coburgcnsis (cf. p. 109).
No. 70 (fol. 17s, i) Newby 41

„ 70 UOJ. 02, 2

„ 87 (fol. 87)

; « »

Incc 305

.. 99 (fol- ■?«)

Lowther 42

„ 132 (fol. si)

Wobum .44

„ 142 (fol. iig)

Blenheim 3

.,.03 (fol. 5)

Woburn 148

„ 167 (fol. 8)

„ 170 (fol. 43)

London, Soane 26

„ 20. (fol. 146,

I) Ince 263

, 202 (fol. 102,

4) ■■ =62

, 203 (fol- 60)

Woburn 117

,218 (fol. 54)

„ no

, 222 (fol. .2)

Wilton 60

Hamilto.n Palace, see p. 301.
HoLKHAM Hall Library, sceyx^. 322 f.
London, British Museum, MS. Add.

it 1 18 (drawings by Cipriani).

fol. II Pctworth 40?

.. «S „ 46? 66!

LoNDO.N, A. W. Franks, Esq., see
PP- 433 f-
Dal Pozzo coll. Blenheim 3
Ince 298

London, Soane 26
O-xford 113
VS'ilion 60
., 163
Wobum 148

Windsor Castle, Royal Library, see
pp. 718— 7J I

Vol. I. fol. 88 Newby 4.

,, II. ,, 30 Dccpdenc 42
,, VII. ,, 3 Blenheim 3

., ,. .. 22 „ 3

S4- 55 Newby 8

,f ti I, 59 — 61 Broadlands 1 1
„ X. ,, 20 Blenheim 3
,, ,, ,, 47 Woburn 110
75 .. 117

ENGRAVINGS.

Account of lite Statues, iSrr., at Incc

p. 83

,, 262. 263

„ 89

,, 264. 265. 275. 276

Fronti-p.

„ 282

Antiquary, The

1882, Jan., p. 7

Holkham 26

Antonini, Vasi

antichi.

*u\. PI. s6

Stowe (Cat., p. 47 n

738, sold to Town ai

Emanuel)

Archacologia.

XIX. p. 70, Plate Wobum 99

XXXM. PI. 4

,, III

XLV. „ I

Windsor 4

Archiiologhcher A

btzciger.

1S64, PI. A, I Wobum 193
A, 2 ,, 67

A, 3 Ince 259

Archdologische Zeitung,

1844, PI. 16 Wilton 146

1857, ,, 97 London, Hamilti

1858, „ 114, 4 Ince 282
1864, ,, 181, I Canterbury 45

Benndorf, Voylcgeblatter, Seric C
Vienna, 1882.

PI. 9, 3 ; 4 Cambridge 76

„ 10, 1 Wobum 219
.. 10, 2 „ 117

„ II, 3 Oxford III

Berichte dcr sachsischen Gescllschaft dei
IVisscnschaftcn.
1855, PI. 3, I Woburn 99.
Bernoulli, Komische Ikonograplnc.

I. p. 90 Holkham 53

,, 281 London, Apsley 3

Blundell, see Accozint. Engravings.

BoTTir.ER, Amalthca.

III. PI.. 4 Wilton 48

„ 5 Ince 250

Bottiger, Archiiologic und Kunst.
I. p. 169 Ince 30

Braun, Vorschulc dcr Kunstmythologic.
PI. 47 Petworth 5

London, Hamilton 2

Deepdene 39

London, Lansdowne 88

Brondsted, Voyages et 7-echcrches.

I. PI. 9 Edinburgh? of. p. 259

Bullcttino Napolctano.

V. PI. I, I Richmond I2

Causseus, Museum Roinanum.

II. PI. 114 Wilton los

CA\'ACEpri. Raccolta d' antiche statue.
I. PI. 4 St Ann's Hills

,, ,, Newby 41

,, 5 Lowther 3

„ 6 Buncombe 1

,, ''7 " London, Jennings"

1881, p. 162
Beli.ori, I'cter

Richmond 3

London, S. Kensington iS
London, Lansdowne i
Wilton 5

ni illustrium imagines.
London. Apsley i

Eroadlands 1
Petworth 3

ENGKAVIXGS.

775

C.WACEri'l, Raccolla d'anlulu slat tie.

London, Lansdowne
Deepdeni; 35
" Livomo, Dick"
"Livorno, Dyck"
Newby 18

Chandler, Mannora O.ronuiisia.
I Oxford 18

■7-1

40 Newby =8

Duncombe 3

*43

Broadlands ig

Newby 40

'54

Introd. n. 174

58,1

London^ Lansdowne 75

58,2

>. .. 25

Richmond 40

■6

"Nollckens"

*I2 I

12,2

London, Lansdowne 15

*l8, J

•18,2

•19,1

*I9, 2

, *32, ■■
, *34

Boyntnn 2
Ince 57
Newby 8
Introd. n.

Cavai.IERI, Anliguaniin slatiianini
iirbis Roinae lerliiis el quarlus liber
(1594)-

PI. 3? Pctworlh 5 ?

77^

C HANDLER, Maniioni Oxoiiic/isia.

I. PI. 39 N

60 Oxford 68

CllANLiLER, jMannora Oxonicnsia.
I. PI. so No. 127 Oxford 137

63 1

64 J

, 130

. 235

, 83

. 56

\ 87

, 236

ENGRAVINGS.

777

Chandler, Mannoya Oxoiiania.
I. PI. II No. 89 Oxford J04
.. .• „ 9° .1 M9
., ., „ 9' .. =1'
.. ., ., 92 M >50
93 .1 M'

CnoiSEUL-GouFFiER, Voyage pillora-
ijiie dc la Grice.

Cl.\k.\c, Miisa- Jc Sculpture.

Vign.-l
'I. 1 = 1. J ^^"'"'"' =^'9

Cicero cd. Oxon. (1783).
Frontisp. Oxford 45
Clarac, Mus^e de Sculpture.

No. 662 A
,, 664 E
„ 664 L
„ 666 A
„ 669 B
„ 678 B

„ 704 A

"[.]7ISA

.. 743

„ 748 A

., 754 B

>. 754 C

.. 769

M 770

>. 774 A

>■ 774 B

.. 774 C

„ 786 C

,, 786 D

„ 786 E

„ 7S6 F

„ 8o2 B

» 803 A

>■ "80s

„ B16A

„ 820 A

„ 823 B

„ 834 A

„ 839 B

„ 850

,, 860D

„ 883 A

„ 888 B

899 A
899 B
899 C

Incei

Lowlhcr 68

London, Lansdowne 39

Marbury i

London, Wcstmacott i

Holkham 55

Ince2

Oxford 18

Petworth i

Newby 5

Dcepdene 24

London, Lansdowne 78

Inc=3

London, Lansdowne 87

Holkham 34

Wilton 145

Ince4

Broadlands 13

C. How.ird I

C. Howard 2

Marbury 2

Wilton 131

Holkham 28

Wilton 116

Mr Cope (Introd. n. 172)

Oxford II

Wilton i»

!
Incc 6
Inces

C. How.ird 3
Incc 7

London, Lansdowne 33
Dcepdene 39
Oxford 21
Holkham 27
Newby 23
C. Howard 4
Oxford 19
Incc 8
Incc 9
Incc ro

. 899 D
B99 E
900
904
905 B
90SC

905 D

906 A
9o«B
906C
906D
906 E
9.2 E
9.2 F
946
946 A
946 B
954 B
9S4D
959 C
966
966 A

'984
990 A
990 B

Incc II

Oxford 20

C. Howard 4 f Incc ic

Brocklcsby 63

Incc 12

Dcepdene 2

London, Lansdowne 41

London, Lansdowne 4

Marbury 3

London, Lansdowne 32

Newby 33

Marbury 3

Incc 13?

Holkham 21

,, 104 1 1!

,, 1053 A

,, 1063 A

,. iiioC

„ iiioD

., H22B

„ 1122C

„ 113. E

„ 1136C

.. «M4

IV. No. 1158

„ 1160

„ 1160A

„ 1160 B

„ 1172 A

„ 1.72 B

„ 1178

1208 C

1209 A
1213A
1217A
123" A
1237 B
1:48 A
1248 B

Incc 15
Incex3?
Wilton 119
Ince 16
Petworth j
Dcepdene 4

1
Oxford 32
Wilton 159
Newby 18
Newby 18
Ince 17
London, Wcstmacutt z

Oxford 31

Ince 19

Wilton 158*

Wilton lo

Wilton 164

Wilton 117

Oxford 55

Wilton 119

Dcepdene 9

Wilton 97

Ince 20

Incc 21

C. Howard 5

London, Lansdowne jo

Dcepdene 7

Broadlands 14

Oxford 23

Holkham 24

Marbury 4

Incc 32

London, Lansdowne 67
London, Lansdowne 9
Holkhani 24
Incc 23
Petworth 17
Marbury 5
Incc !z4
Brocklcsby 37

778

Clarac, , Miisa de Sculpture.

Clarac, Musk de Sculp/tire

0. 1294 A Oxford 10

IV. No. 1641 A Deepdene 36

1294 B Oxford 27

)i 1646 A Ince 33

1294 C Oxford I

„ 1646 B Ince 34

1311 Lowther 3

„ 1670 A Ince 35

1312 Deepdene 35

„ 1671A Holkhama

1345 Deepdene 6

„ 1671 B Holkham 15

1364 A Newby 6

„ 1671 C Deepdene 40

1392 C Oxford 25

„ 1671 F Wilton 53

1392 D Oxford 26

„ 1680 B Wikon7o

1394 Newby 20

„ 1680 E Holkham 19

1411 Richmond 40

„ 1683 A Holkham 16

1425 A Wilton 130

» 1683 C Marbury 12

1425 B Ince25

„ *i689 A " Sir W. Mamiwering "

1448 B Newby 28

,, 1693 Wilton 151

1449 A Holkhani 23

„ J701 Holkham 3

1449 B Marbury 6

., 1708 A London, Westmacott 3

1455 A Ince 26

,1 1718 Deepdene 46

1459 F Oxford 37

„ 1729 A Newby 2

1459 G Oxford 162

„ 1735 A Ince 30

1467 A C. Howard 6

., 1736 E Petworth 12

1469 A Newby 7

„ 1740 B Deepdene 27

1471 B C. Howard 7

„ 1754 A Wilton 106

1478 A London, Lansdowne 57

„ 1755 B Deepdene 19

1481 A Wilton 146

V *i755 C " Cambridge " ?

1495 Wilton 124

„ 1755 D Wilton 62

1501 A London, Lansdowne 70

„ 1762 A C. Howard 10

1501 B Deepdene 22

It 1765 A Newby i

1504 A Oxford 36

„ 1770 Petworth 54

1506 A Ince 27

„ 1796 A Holkham 18

1508 A Eignor 2

„ 1802 A Ince 36

1517 A Wilton 14

„ *i8i3 Montserrat.seepp. 240. 619

1528 A Ince 28

„ 1814 A Holkham 41

1529 A Ince 29

„ 1821 B C. Howard 11

1545 B Wilton 144

„ 1828 Ince 37

1554 Deepdene 26

„ 1829 A London, Lansdowne 13

1560 London, Lansdowne 91

„ 1829 B London, Lansdowne 12

1563 Wilton 68

„ 1829 C Wilton 8

1567 A Wilton 112

., 1829 D London, Lansdowne 13

1568 London, Lansdowne 31

„ 1831 A Marbury 13

1580 Oxford 40

„ 1844 St Ann's Hill 5

1595 A Ince 31

„ 1851 A London, Lansdowne 97

1596 B Wilton 234

„ 1851 B C. Howard 12

1603 A Ince 32

„ 1851C IncesS

1608 A Holkham25

„ *i86i E ?

1610 A Marbury 11

„ 1876 A Oxford 35

1610 B C. Howard 9

„ 1877 London, Lansdowne 68

1614 Deepdene 3

„ 1899 Ince 40

1619 A Petworth 14

„ 1910 Petworth 53

1619 B Deepdene 20

„ 1924 Brocklesby 26

1619 C C. Howard 8

» 1933 B London, Lansdowne 81

1623 A Marbury 10

V. No. 1957 A Wilton 132

162s Wilton 230

„ 1962 Brocklesby 82

1626 Brocklesby 90

1, 1970 A Oxford 39

1632 A Newby 3

„ 1973 London, Lansdowne 61

1634 Marbury 8

,. 1977 A Oxford 38

1635 A " Cambridge " !

„ 1984 Deepdene i3 ?

1635 B Wiltun i"-

„ 1984 A Deepdene I S

1637 A Marbury 9

,. 1986 Brocklesby 11 =

i;n(;kavixgs.

779

c, Musi'e

de Sculpture.

•<o. .987

Wilton 17s

.. "994 A

Wilton 5

„ 20.5 A

Marbury 14

„ J018

Wilton i«

„ 2M2A

Holkham 20

„ »a3

Wilton 96

„ 30J8C

Marbury 15

„ 3031 A

Petworth 18

„ 2031 C

Wilton 170

,, 3032 C

London, Lansdownc 83

„ 2038 A

Oxford 24

„ 2048 A

London, Lansdownc 85

.. «>7. Q

Ince 43

,. *2074

„ 2077 A

Marbury 16

„ 2085 A

London, Lansdownc 89

„ 2i<H

Marbury 17

„ 2125

Marbury tS

„ 2128

Ncwby 7

.. 2'34

Ince 44

.. 2143

Petworth ig

., 2143 c

Oxford 43

„ 2161 A

Newby 46

„ 2161 B

Newby32

„ 2.61 C

Newby 47

.. 2.6. J

Oxford 48

„ 2180

London, Lansdownc 36

„ 2180 A

London, Lansdownc 3

„ 2.9S

Duncombe 2

„ 22I0A

Ncwby 16

„ 2210 D

Wilton 96

„ 2232 B

Ince 45

„ 2236

Marbury 19

„ 2236 B

Ince 46

„ 2236 C

London, Wcstmacott 4

,. 2236 D

London, Wcstmacott 5

,. 2237 A

Wilton 21

„ 2237 B

Wilton 52

.. 2237 C

Wilton 22

„ 2240 B

Newby 27

.. 2243 A

Ince 47

„ 2274 0

Newby 13

„ 2278 A

Ince 48

„ 2284

London, Lansdownc 1-9

„ 2298 E

Ince 54

„ 2304 A

Ncwby 35

„ 2304 B

Oxford 44

.. 2312 C

Oxford 41

.. 23"3A

C. Howard 13

.. 2331

C. Howard 14

.. 2344 A

Ince 49

.. 2345

Wilton 5S

.. 2346 A

Holkham 36

.. 2354 B

C. Howard 15

,. 2356 A

Wilton 169

.. 2356 C

London, Lansdownc jS

., 2366

Petworth 3

" 2371

Holkham 4

V. No.

de Sculpture.

Oxford 6

London, Lansdownc 30

Oxford 5

Marbury 20

Deepdcne 8

London, Lansdownc 33

Oxford 42

Wilton I""

London, Lansdownc 63

C. Howard 16

London, Wcstmacott 6

Wilton 13

Ince 50

Ince 5.

Holkham 31

Holkham i

Ince 52

Ncwby 4

Wilton I*

London, Lansdownc 34

London, Lansdownc 6

Petworth 56

Oxford 30

Oxford 2

Oxford 3

Oxford 4

Ince ?

Deepdcne 37

Holkham 42

Ince 55

Holkham 33

Ince 53

Ince 54

Cl.ARAC, Musi'c

2415 A
2425 B
2430 A
2430 B
2436 A
2438 B
2443 A
244s A

2445 B

2445 1:

2446 A

2458
2459 A

2451 A

2452 A
2486 A
3501 £
25.0 A
2510 B
251. A
2524 I
2524 J
2524 K
2524 L

■2559 A
2569 A

2574 D

2575 A
2588 A
2588 B

•2588 C

Clarke, Greek Marbles in Cambridge.
P. 24. 30, Plates Cambridge i

Clarke, Travels in various Countries
0/ Europe, C^c.
II. I, p. 130 Cambridge 2. 9

Creed, Carey, The Marble Anli<jui-
tics... at Wilton.

78o

Creed, Carey, The MaMd Antiqm
lies... at IViltoii.

K>ii;rai-

..of Monuments... at hue.

Dallaway, Of Statuary.
PI. 2S Oxford 241

Disney, see Museum Disncianum.

Engravings, single sheets.

By Ferrero, Gio. Franc: Woburn 100
„ Hollar, W.,v. 88 Vertue = 59oParthey:

Oxford 59
„ Langley, Tho. : Wilton 48

Engravings. ..of Monuments . ..at luce.
PI. I Ince 8

26, 2

ENCRAVIXCS.

;8i

Engravings. . .of Afontimeiils. ..at /«<v.

57.3
S8,=

60, I
60,2
60,3

62, I
62, 2
63,'
63,2
64, I
64,2
64. 3
65

66, I
66, 2
66, 3
67,1
67,2
68

69,1
69,2

I'ligravhigs.. .of Monuments. ..at Ince.
PI. 80, 1 Ince 226
„ 80,3

228

83, >

■ 230

83,2

. »3«

83.3

1 23"

84,.

. »33

84,2

. 234

84,3

. »35

84,4

, 236

. 237

, 238

87,1

. =39

87, >. 3

1 240

95. 3

2470
248

263

364

782

Engravings., of Monujiicnts... at Iiicc.

285
286
=87

133. 3
133, 4-

135, 4
■36.1
136,2
136,3

136, 4

1 37, 1—3

..of Monuments... at Ime.
336

34fi
347
348

>43, 3-
■43, 5-

:::}>

Episconus, Signontm velcruin iconcs
PI. 74 Oxford 44

FAnRETTl, De cohimna Traiani.
p. 339 Wilton 13a

Falkener, Ephcsus and Ihc Tanpic of
Diana.

p. 120 Wobnrn 219

Fea, Sloria lidlc arti del dissgno.
ir. PI. 6 Knole I

III.

Inc

3°4

FoRSTER, The Slowe Catalogue.

p. 44 Osborne 2

Galeria Ginstiniana.

II. PI. .52 Inccjns?

F.XGRAVIXCS.

783

GAl.l.AKrs, lllmlrium imagines.
PI. 43 Holkh.lm53

,. 90 Marbury <o ?

,, 146 London. Apslcy 1

Gkrhari), Antike BiIJ-,vcrke.
PI. 306, 4. 5 Cambridge I
„ 310, I. a Wilton 137. 138

Gerhard, Archiiclo^sc/ie Zcilting, see
Arch. Zeit.

Gerhard, Auserlesene Vasenbilder.
IV. PI. 329. 330 Pippbrook p. 618.

Gerhard, Gcsammclle akademisc/te Al>-
handhingen.

PI. 32, 5 Deepdcnc 3

Ghezzi, Camere sepokrali de liberli di
Livia.

PI. 7, n Wilton 129

„ 7, C „ M.

„ 8, D „ 143

„ 8, E „ 155

„ 8, F „ 60

Gordon, Essay tcnvards explaining the
hieroglyphical figures, &^c.
PI. 10 Wilton 74

GoRl, Coiutnharium libertorum Liviae.
rl. 7 Wilton 155

„ 8 „ III

., 9. A „ 143

)• 9i B ,, 139

llnl.i.is, Memoirs.

Plates Cambridge 81 — 83. 85—91

Iiice, see Account. Engravings.
I.ngiiirami, Galena omerica.
PI. SI3. 319 Woburn 219

Instituto di CORRISPONDF.NZA AR-
CIIEOLOGICA.
Annali

1B39, PI. K London, Hamilton 2
1874, „ P Wilton 48

„ „ Q Oxford 83

Annales de la section francaise

PI. JO Howard 66
Monumeuti

III. PI. 52,6 BrockIcsby36

IV. ,, 29 London, Lansdowne 76
V. ,, 28 London, Lansdowne 30

Jaiix, Griechische Bilderchroniken.

PI. 3, I London, Ivansdowne a

y ahrbiicher dcs Vereins von Alterthums-
freiinden im Rheinlande.

I (1842). PI. 3, I. 2 Richmond 25

Journal of Classical and Sacred Phi-
lology.
U. p. to8 Cambridge 13
Kennedy, Description oflVilton House.
PI. I Wilton 87

GORI, Daclyliolheca Smithiana.
I. PI. I Windsor 2

Guattani, Monmnenti Inediti.
1787, Apr., PI. 2, 2 Ince 128

,, Aug. , PI. 3 DeepdeneiS?
1788, Nov., PI. 2 Ince 127
,, Nov., PI. 3 ,, 129

Hertz, B., Catalogue of the collection
formed by.

PI. 2 Stanniore i

,, 3, I Liverpool 14

IIi.YDFMANN', IHupersis.

I'l 2, 3 Ox-rord III

183
.96

784

Kraus, Signorum velertim koncs.
PI. 47 Oxford 32
„ 48 „ 20

Lacroix, lies de la Grice.

PI. 6 Cambridge 31

Lucas, Voyage au Levant.
I. p. 152 Lou'thcr 52

MafI'ICI, Raccolta di statue.
PI. 145 Holkliam 24

MONTFAUCON,
Si(pplintciit,
I. PI. 54, I

III.

54,

Anihjnite explii/iii'e.

Maittaire, Marmora Anmdelliana.
No. 31 0.\ford 152

,. 144 ,. 2°5

,, 145 „ 165. 166

Marmora Arundclliana, sceMAmMS.^.

Marmora Oxonictisia, see Chandler.
Maittaire.

Mercurialis, de arte gymnastica.
11. ch. 12 Duncoinbe 2

Miciiaei.is, Bildnisse des Tlnilydldes
(The Holkham Bust of Thucydides).
PI. I. 2 Holkham 26

MiLLiN, Galerie viythologique.
PI. 159, 541 Marbury 36

MiLLlNGEN, Ancient Unedited Monu-
ments.

II. PI. 12 Bignori

MoNTi'AUCON, Antiquite expllquee.
1. PI. 27, I Wilton i3«

.. 45 .. 137- 138

,, 87, I Holkham 24
II Q3i 5 Wilton 95 ?
III. ,, 6, 3 Holkham 36

Mon'tfaucon, Diarium Italiciim.

Moiuimcnta Matthaeiana.

I. PI.. 4

Ince ,3 ?
Marbury 3
Ince 13?

.. 3t
Marbury ri
Ince 26
Lowther 6S
Marbury 2

London, Apsley ]

„ 87

■ > 85

Margam 14 ?

KNCR.WINC.S.

7S:

MonumeiUa Matlhaeieina.

III. PI. 6s. 6 Ince334
ti 67, I „ 303

Museum Disneiaiium.

PI. 4 Cambridge 42

^. I

„ 3=8

69, 2

.. 330

69. 3

.. 358

69. S

>. 3M

73. S

323

Moses, Collection of Antique Vases,
PI. 23 London, Soane 38
II 35 Woburn loi
n 37 Warwick i
„ 87 Decpdene 43
,, 121 Holkham 52

MtTLLER-WiESELER, Dcnkmakr der
alten Kitnst. 2 ed.

I. PI. 1, 4 Brocklcsby29

.. 34. M=, A. C .. 5

II. ,, I, 9 Wilton 48

„ 8, 92 Cambridge i

,, 10, 117 Wilton 137

,, 12, 133 Petworth 5

,, 12, 139 Decpdene 4

„ 19, 203 .. 39

,, 27, 293 Bignor i

„ 27, 295 Marbury 36

,, 28, 304 London, Lansdnwnc 38

M 29,324 Wilton 144

»» 3^1 370 Brocklesby 90

» 33. 372 Decpdene 3

.» 44. 555 Brocklesby i ro

,, 51, 644 Richmond 25

I. 56. 719 Newby 28

„ 61, 780 Decpdene 7

,, 61, 791 Liverpool, p. 428

MURATORI, Thesaurus itiscriptiouum.
J- P- 35. Plate Wilton 48

Afuseo Borbonico.

IX. PI. 3 Oxford 129

Museum Disneianum.

PI. X Cambridge 39

? p. 267

Cnmbridge

? p. 267

Cambridge

? p. 267
Cambridge 32

.. 43. 42"

rfi

.. 48

.. 49

„ 5°

.. 5»

.. 53

M S3

.. 54.54*

.. 55

.. 56. >

.. 56, 2

.. 57. S8

., 85

„ 88, 2

Museum Worsleyanum.

CI. I. I (PI. I, i)

Brocklesby lo

M„ >. 3)
3(., >. 2)

;86

Musenm Worslcyannm .

CI. I,

4 (PI

5(.,

2, i)

2.3)

Erocklesby

34
53

6(„
7(„

=,2)
3. >)

<i5
40

8(„

3.2)

„

III

9 (.,

4 )

„

io(,.
"(„
12 („

5,0
5,2)
6, i)

39
14
45

13 („

6,2)

„

■4(„
I5(„

6,3)
7,1)

67
29

>6(„

f7 (

7,2)

'7 \>)

I9(„
= ■(,.

0, 1;

8,3)

9.2)

17
42
76

=4(.,

9,5)

=3(,.

9,6)

CI. II.

i(.,
= („
3(„
4(„

s(„

6(„

T2, l)

12,2)
12,3)
12,4)
13. l)
13,2)

7
97
72
33
27

7(„
8(„

■3.3)

13. 4)

9(„

13,5)

io(„

13,6)

01. III.

i(„
= („
3(..
4(„
5(„

14 )

IS )
17,0
17.2)
16, i)

p. 240
Erocklesby

82
37

6(„
7(„
8(„

16,2)
IS, 3)
17,3)

26
62
log

io(„
■i(„
■=(„

18,2)
19, 2. 3)
18,3)

Cambridge

8
86.

13 („

19.0

Erocklesby

113

CI. IV.

20—31

p. 240

Vul. I. p.

io3(tav

d-agg.,

) Erocklesby 36

A^o/c's and Reminiscences ofliossie Priory.
The numbers of the photographs corre-
spond to those of the present Catalogue.

Orlandi, Le Nozze di Paride ed Elena.
Plate Marbury 36

OvERBECK, Atlas ztir Kunstmythologie.
Pk 2, 13 London, Lansdowne

14
» IS. 3 Wilton 137. 138

OvERBECK, Gallerie heroischer Bild-
iverke. Vol. i

PI. 16, II Cambridge 66

OVERBECK, Geschichte der Griechischen
Plastik, 3 ed.

I. p. 218 (194) fig. 52 Wilton 144

Pashley, Travels in Crete.

II. pp. 6. 18. 19 Cambridge 31

Penna, Viaggio della Villa Adriana.
IV. PI. *94 Stowe (Cat., p. 47, no.

738, sold to Lord Nu-
gent)
95 Warwick i

97. 98 "John Eoyd"
Oxford 241

Stowe (Cat., p. 47, no.
738, sold to Town and
Emanuel)
Ince?
Stowe
,, 141 Erocklesby ifi

PiRANESi, Anticliiti) Romane.
III. PI. 27, J Wilton 60
,, 27, O ,, 129
,, 28, D „ III
„ 28, G „ ,55
,, 30, B ,, 143

PiRANESi, Vasi, Candelabri &=c.
I. PI. *r Ince!

'i "Rich. Hay ward, sculptor

t Rome
Warwick i

^15. 16 Stowe (Cat., p. 47, no. 739,
sold to Town and Ema-
nuel)

'^ ^^ "Rich. Hayward, sculptor

at Rome"
25—27 Oxford 241

"28 "Lord Palmerston "; Eroad-

lands ?

*2g "Egidio Earle"

"41 Stowe (Cat., p. 47, no. 738,

sold to Lord Nugent)
42. 43 Woburn loi

"46 "Hugh Dcane, landscape

painter"

"46 " Lord Exeter " ; Burleigh

House?

*47 "G. Aufrere, Chelsea"

ENGRAVINGS.

7f^7

NESI,

las

/, Candelabri &>!■.

PI. .,7

Uroadl.inds 32. 33

.. 's»

" Lord Holland ; " St Ann'>
Hill?

.> 'S2

"Hugh Dcanc, landsc^iptj
painter"

.. 'S7-

-59

"John Boyd"

„ '66

" Dallon "

., '67
.. '71

" Mrs Jane Synnol"
" M.itthcw Nulty, anti-
quary "

.. *72

" Aubrey Bcauclerk ''

.. "74

" Edw. Walter, Berry Hill
Surrey "

,. •78

"Dalton"

. '85

'• Edw. Walter. Berry Hill,
Surrey "

, '96

"John Barber"

. 9«.

Oxford 242

» 105.

106

Brocklesby 91
Ince 373 ?

Pricaeus, AWatr in Apide'mm.

p. 47 Oxford 1 10

.. 93 „ 25

Prideaux, Marmora OxonUnsia.
p. 77, No. 4 Oxford I5S

.Sandrart, Sailptiirae vdcris aJ-
iiiiraiiila.

PI. n Easton Ncston 7

.Sandrart, Teulscke Akoilemic.
IV. PI. 10, 6 London, Apsley i

SCHNAASE, Geschichte der Hldciulm
Kiinstc, z cd.
II. p. 224 Lowther 37

Schroeder, Abbildungcn des Demo-
sthenes.
PI. 2, 6 Knolc I

Soane, Description of the House and
Museum of Sir y. Soane.
p. 43 London, Soane 36

Sophoclis Electra cd. 0. fahn.

Fror.tisp. London, S. Kensington i3

Specimens of Antient Sculpture (Introd.
§§ 69, 77, 84, 85).

I. 7 London^ Lansdo^vnc 53

25 Deepdene 39

26 i> 7

27 London, Lansdowne 37

28 Petworth 20
30 ,. 24
35—37 Brocklesby 5

*39 *' Earl of Upper Ossory "

40 London, Lansdowne 61

45. 46 Petworth 73

SI London, Lansdowne S8

54 Petworth 23

„a63

126 „ 165

,. =«4

I2« „ l6«

„ 266

'30 ,. I3S

.1 =75

■39 „ aoj

„ 280

.67 ?

Rome Archeologique.

I (1844)

PI. 13 Richmond 29

RoniNsoN, Vitruvius Britannicus, IVo-
burn Abbey.
PI. 4 Wobum 219

Rossi, see Maf fei.

Salvixi, see Gori, Columbarium.

66
68
69

72- 73
• 7-8

Deepdene 35
London, Lansdou-ne 83
Wobum 141
Newby 20
Marbury 36
Ince 43
Bignor i

Holkham 19
Wobum 1 28
. 3a Cambridge 102
Holkham 34
London, Lansdowne 65
Ncwby 23

SO — 2

specimens of Antieiit Sculpture (Introd.
§§ 69. 77. 84. 85).
II. 39 London, Hamilton i

40. 41 Kingston i

44 London, Hamilton 2

45 Petworth 5

46 Kingston 2

48 London, Westmacott 7

51 Deepdene 4

Holkham 23

Deepdene 27

Petworth 56

5«

llr Cope (Introd.

172)

Spon, Voyage d' Italic et du Lez'aiit.

II. p. 282 Cambridge i
S PRATT, Travels in Crete.

I. p. 72, Plate Tunbridge Wells I

II. PI. I, no. 20 Cambridge 13

Stackelberg, Grdber der Hclleneii.
PI. 1, 3 Lowther 37

TISCHBEIN, Homer nach Antiken gezcich-
iict.
PI. 5, 2 Marbury 36

ToLLlus, Epistolae ti nerariae.

Lowther 53
^^OURNEFORT, Voyage au Ln'aiil.

III. p. 391 Wobum 219

^\isactions R. Soc. Literature, Nc-v
S\ies.

' '(1853) P- 384, Plate, no. 3 Marbury 40
„ 5 Knole I

Ursinus, Imagines et elogia viroruin
illustrium.

p. 33 Marbury 40 ?
see IViener Akademie.

Visco.nti, Iconographie Grccque.
I. PI. 6, 3 Marbury 40 1
,, 33 0.\ford 155

ViscoNTi, Iconographie Romainc.
I. PI. 4. « Holkham 53

9, 3. 4 London, Apsley 3

ViSCONTi, Museo Pio Clcmenlino.
III. PI, „. s Ince 17

p. 40s
.. 428

Wei.cker, Alte Denkmdler.

II. PI. II, 19 London, Lansdowne

WnELER, Journey into Greece.
Oxford 131
.. 144
Cambridge i

Wiener Akademie, Sitzungsberichte.

LXXI (1872) PI. 2 Wilton 109

WiLKiNS, Antiquities of Magna Graecia.
Frontisp. Cambridge 30
P- 71 ,. 4

Win'ckelmann, Montttiienti inedili.

I. Preface Wobum 117

IVobiirn Abbey Marbles.

PI. 4 Woburn 147

WORSLEY, see Museum IVorsleyanum.

Zahn, Ornamente und Gemcilde rot.
Pompeji, Sr'c.
II. PI. 62 Oxford 120

Ill

SUBJECTS REPRESENTED.

5 and n. refer to the paragraphs and notes of the Introduction ; p. to the pages of the book.
Numbers immediately following the name of a collection are the numbers of this Catalogue.
? after a number indicates that the name given to the article is uncertain ;
! that it is arbitrary ; [ ] refer to articles of indisputably modem origin.
St. statues, groups, etc- //. heads, busts. A', reliefs. /'. pictures.

Br. bronzes. T. terra cottas. K. painted vases.

N.B. All the PORTRAITS have been brought together in one article.

.A.bundantia Si. C. Howard 3 !

.•Vcanthus bordering busts at bottom
Margam 10

Acheloos /". Edinburgh, Ant. Mus. 3 ?
A. and HeraUlcs 5/. Wilton 5 !

Achilleus //. Brocklesby [88]. A. at
Skyros /{. Cambridge 76. Woburn
71. 117. A. wrathful //. Margam
14 ? A. receiving corpse of I'atro-
klos J?. Woburn 219. Arms carried
to A. by Nereids J?. Wilton lo.i.
A. arming A'. Woburn 219. A. and
Hektor A'. Cambridge 76. Canter-
bury [155]. Ince 279. Oxford III.
Woburn 219. A. visited by Priam
A". Woburn 219. A. and Penthesileia
A. Cambridge 76. Richmond 58

Achillea slaliia Lowther 7 ?

Actor sitting on altar R. London, Soane
36. A. and Muse R. London, Lans-
downe [72]

Adonis 5/. n. 174. Lowlhcr 6,i ! //.
Edinburgh, Murray 7 !

.\drastos on mirror Cambridge p. 368

Gem

Cam-

Ant.

Aeakos in Hades K. Ince 306
Aegis on portrait of Claudius

W'indsor 4
Aesculapius see Asklepios
Africa //. Broadlands 19
Agamemnon and Chryses R.

bridge [66]
Agalhodaemon A'. Edinburgh,

Mus. 3 ?
Agyrtes at Skyros A". Cambridge 76.

O.sford 218? Woburn 117
.•\ias //. I'etworth 23?
Akroterion of Attic sepulchral stele

Cambridge 113. Ince 2S,s. 286
Alabastron entwined with vine St.

Newby 20
.■\lkmeni on funeral pyre V. C. Howard

66
.\ltars Ince 258? .305. 306. Wilton

113. Wimbledon, i? Woburn 50.

56. See Pedestal. A. with slain

rain on it Windsor i. — t\. near

statue of Dcmcltr Ince i. A. on

sepulchral reliefs Kokel)y 1. Wilton

790

17- — A., sepulchral, Cambridge 29.
Marbury36? Oxford 96 — 104. cjog.
210. See Cippus. — A. of Apollo
Cambridge 118; of Apollo and
Dionysos London, Lansdowne 69 ;
of Baal and Astaroth Cambridge 14 ;
Bacchic London, Lansdowne 58.
Marbury 41. 42. Richmond 11.
Wilton I. Wobum 144; of Hera-
kles London, Soane 24, used as a
tombstone Oxford 202 ; of Isis and
Serapis Ince 395 ; of Tyche London,
Lansdowne 1 1 ; of Zeus Labraundes
Oxford ■201

Althaea and the fateful brand A". Wil-
ton 61

Amazon Si. of Polykletian type Lon-
don, Lansdowne 83. Oxford 24 ;
Mattel type Petworth 18; kneeling
Wilton 170; other type Ince 23?;
on horseback Marbury 15 ! — A'.
London, Soane 18. Richmond 60.
Wobum 74 ? Battle of As Ince 280.
Oxford 112. Richmond 58. K. Pipp-
brook p. 6 1 8

" Ammon's " head or mask, especially
on sepulchral monuments, Cambridge
86. 89. 91. C. Howard 51. Ince
126. 230. 240. 313. 323. 352. 356.
395. Marbury 45. Woburn 94

Amphiaraos on mirror Cambridge p.
268

Amphion assisting at death of his chil-
dren J^. Wilton 163

Amphitheatre, scene of, A'. Ince 274

Amphiti-yon and Alkmene /''. C. How-
ard 66

Amphora on Attic sepulchral relief A".
Cambridge 1 1 1 . A. near Eros S/.
Wilton 112. — A., handles of,
Liverpool p. 428. Oxford p. 592

Amulets round breast of boy Wilton 22 ;
round horse's belly Ince 274. See
Bulla. Crescent

" Amymone " Si. Deepdene 35

Aita.xyrides of Seilenos Wilton 62

Anchirrhoe Si. Ince 37

Anchor held by Triton A'. Wilton loj

.\ndromache and Hektor Cent Rossie

159. A. being deprived of Astyanax
R. Woburn 219
Ankaeos at Kalydon A". Broadlands 21.
Ince 246. Richmond 57. Woburn
6i
Antaeos and Herakles Si. Marbury 14.

Wilton 223
Antenor companion of Amphitryon V.

C. Howard 66
Antinous sec Portraits, Roman
Anubis R. London, S. Kensington 13
Anvil R. London, Holland; Lansdowne

98. Woburn 132
Apex of priests R. Ince 347. Oxford 242
Aphrodite. Staines: Spes type Deep-
dene 3. Ince 40. 41 ; "Venus Vic-
trix" Ince 24?; old type with dove
T. Canterbury 13 ; Melos type Cam-
bridge 2 ; Cnidian type Lowther i ;
Capitoline and Medici type Deep-
dene 6. Hamilton i. Ince 63. 63a.
Newby 20 (§ 46. 53). Oxford 25.
49- 157- 158. Woburn 141 ; varieties
of this type Ince 66. Oxford 26.
Richmond 41 ; pseliumeniTunhriige
Wells I ; leaning on pillar Wilton
130? ; arranging her hair Osborne 2 ;
similar Richmond 4. 19 ; with wreath
in hand Br. Stanmore i ; similar Br.
Stanmore 2. 3 ; admiring herself in a
fountain Ince 36. Newby 6 ; A.
Mazarin Richmond 2 (§ 54. 92) ;
Venus Genetrix Holkham 23 (§ 42) ;
similar Oxford 27; crouching Os-
borne 5. Richmond 40. Whitehall
(n. 69. 72. 121); recumbent, made
out of an Hermaphrodites Ince 25 ;
uncertain types Brocklesby 103.
Duncombe 13. C. Howard 59.
London, Ford; Lansdowne 109.
Lowther 2. — A. with Eros Si. Boyn-
ton 3. Br. Edinburgh, Murray 5.
Richmond 40 ; with Eros and Psyche
Oxford 156; with draped attendants
Br. Richmond 39 — Heads of differ-
ent types: Broadlands 6 (§ 53).
Brocklesby 15. 85. Cambridge 9.
Hamilton 2. Holkham 37 (§ 42).
Houghton 16. Ince 120. 181. 188

SUBJECTS REPRESENTED.

791

(formerly pul on ihc Chigi Venus).
19+? London, S. Kensington 19.
Newby 25? Oxford 78. I'etworth
73. Rossic 6. Wilton 162. [iJi].
Woburn 116. 127.— i?f/;>/>.- T. Can-
terbury 54. London, L.ansdo\vne 74.
iSr. Richmond 35. Wilton 113. .\.
seated on sea-monster Ince 376 ? A,
and Anchises Br. Bignor i. A. with
apple and palm branch Ince 362.
A. persuading Helena Marbury 36.
A. assisting at rape of Persephone
London, Lansdowne 77 ; Soane 26.
A. in scene of Triptoleraos Wilton
tilt— Mosaic C. Howard 65. Fe-
male represented as A. R. Lowthcr

Apollo. Statues: Strangford § 89?;
Choiseul-Gouffier § 92 ? ; imitation of
archaic type Ince 15; Sauroktonos
Ince 12. London, Lansdowne 41;
similar Wilton 119; leaning on some-
thing Holkham 21. Wilton ib;
resting on r. leg Ince 13. 14. Woburn
205; similar, with legs crossed, Br.
Liverpool i. Newby 33; resting on
1. leg Deepdcne 34. London, Lans-
downe 32. j&r. Richmond 20. Roke-
by 9 ; similar to A. Belvedere Lon-
don, Lansdowne 4. Marbury 3 ; type
with swan Deepdene 2. Marbury 12 ;
A. Egremont Petworth 5 ; A. Hope
Deepdene 4. Petworth 7 ; A. Mi-
maut Br. § 92 ; half draped Oxford
j8? ; with attributes of god of medi-
cine Hamilton 7; sitting Ince 16.
Rokeby 10 ; of uncertain type n. 121.
Duncombe 3. Wentworth Castle i.
— \. and Hyakinthos Deepdene 4. —
Heads : archaistic Petworth 20 ; Giu-
stiniani § 95 ; of different types Broad-
lands r. Cambridge 50? iff r. Chats-
worth 6. Holkham 59. Ince 145.
178? Liverpool 5? Oxford 60?
Rokeby 16. Rossie 17? Wilton
107. 228. — Reliefs: Cambridge 118.
A. with Artemis and Nike Wilton
[le]; amidst Muses Woburn 148;
with other deities T. Liverpool [23]

Apollo, attributes of, combined with Bac-
chic attributes, Broadlands 16. Cam-
bridge 50. London, Lansdowne 69

ApoUonios, inscription of, Petworth 6

Apotheosis of Homer R. § 92

Ara sec Altar

Arbitrator of contest St. Richmond 46

Architecture, Roman, edifice of two
stories R. Ince 294; circular temple
R. Ince 304 See Capitoline. Circus

Architectural drawings Holkham 61.
Windsor xiv — xvii. .\xvi

Architectural fragments Rossie 34. 47—
SO. 56—60. 63. 64. 85. 87. 88. Wo-
burn 36 — 42. 68. 76. 76a. 95. —
Columns Oxford 130. Rossie 47 —
50. Column surrounded by three
women Cambridge 115. Columita
cculata Wimbledon i ? — Capitals Ox-
ford 130. 235. Woburn 189. — Pilas-
ters Oxford 224 — 226. Rossie 47 —
50 ; bases of pilasters Cambridge 30.
75. — Pillars decorated with figures,
forming part of balustrade, Cambridge
4. 8. Liverpool 5. London, S. Ken-
sington 3. Wilton 144

Ares 5y. Duncombe 5. 12. Lowther 7.
H. Ince 203? R. Wilton 113?

Argonauts at ArelLis? A'. London
Lansdowne 76

Ariadne .iV. Ince 34? Marbury 10. //.
Ince 95? 129? 160. 175. 209? Lon-
don, Lansdowne 7. 8. 86. Osborne
4? Petworth 22. Richmond 48.
Rossie II. 18. Mask of A. R. Ox-
ford 220. R. A. in Bacchic scene
Blenheim 3. Newby 34. Richmond
73. Woburn 61
Armour, fragments of, Br. Rossie 145
Arms (corslet and shield) given to Hera-

klcs Liverpool 2
Armourer Cupids R. London, Hol-
land ; Lansdowne 98
Artemis. Statues, in long drapery :
type of 5th century London, Lans-
downe 67; running Holkham 24
(§ 34) ; from group of Endymion ?
Lowther 3; in repose Ince 81. 82.
In short drapery: reposing Ince 22.

793

INDEX III.

23. Marbury 4. Oxford 12. Pet-
worth 52; running London, Lans-
downe 9. Rokeby 11. Ephesian
type London, Soane 3. Wilton 95.
Uncertain type Boynton 5. Dun-
combe 14. Oxford -23. — Heads: Pet-
worth 28? Richmond 51. Rossie
17? Wihon 1 2a? 64. — Reliefs:
Brocklesby loi. Edinburgh, Ant.
Mus. 3. Wobum 74? A. assisting
at rape of Persephone I nee 281.
London, Lansdowne 77; Soane 26.
A. assisting at hunt of Kalydonian
boar Broadlands 21. Richmond 57.
Wobum 61 ; and Apollo Wilton [le]

Asiatic horsemen fighting against Greek
soldiers H. Oxford 84

Asklepios. S/atiies : common type
Deepdene 9. London, Soane i.
Lowther 64. Wilton 97 ; unusual
types Cambridge 114. Ince 20.21;
uncertain type Edinburgh, Ant. Mus.
I. — Heads: Brocklesby 60. Deep-
dene 41 ? Holkham,S5? Rossie 42 ?
— Reliefs: A. standing Knole 15?
Ivory Liverpool p. 428. Oxford 203 ?
A. seated London, Lansdowne 2 ?
A. and Hygieia Brocklesby 10. Cam-
bridge 16

Ass carrying Satyr St. Marbury 1 1 ;
carrying Seilenos Wobum 56. 61;
devoured by lion R. Cambridge 91 ;
and oxen Mosaic Ince 412

Assyrian reliefs Oxford 125. 126. Wo-
bum 239. 240

Astaroth, head of, R. Cambridge 14

Astragalizontes St. Hope § J4

Astragalizusa St. Marbury [5]

Astyanax near Hektor and Andromache
Cein Rossie 159; led to death by
Odysseus R. Woburn 219

Atalante assisting at hunt of Kalydo-
nian boar R. Broadlands 21. Ince
246. Richmond 57. Woburn 61.
iro; carrying boar's head R. Wo-
bum no; and Meleagros ottering R.
Wilton 129; near Meleagros' death-
bed Wilton 61

Athene. Statues : Polias Er. Rich-

mond 18; hieratic Ince [11]; vari-
ation of Parthenos Ince 8. 9. Oxford
19 (§ 24) ; with owl Newby 23 (§ 53);
with cloak C. Howard 4. Ince 10.
Oxford 20; similar Brocklesby 83;
Famese type Deepdene 39. Holk-
ham 27; Velletri type Broadlands 31;
different types Br. London, West-
macott 7. Oxford 21. Woburn in.
210; uncertain types Duncombe 11.
C. Howard 17. Br. 62. Osterley
I. Br. Rossie 141. — Heads: Cam-
bridge [39]. Deepdene 29. C. Ho-
ward 21. London, Apsley 2. Mar-
gam 13. Newby 12. Pelworth 74?
Richmond 50. Wilton 121. 209;
Velletri type London, Lansdowne 93 ;
with Medusa's mask on crown Lon-
don, Hamilton 2. — Reliefs: Cam-
bridge 15. Br. Liverpool 14. Ox-
ford 242. Rossie 39. Wilton 85.
113. Athene-Nike London, Lans-
downe 59. A. with other deities T.
Liverpool [23]. A. and Muses Lon-
don, Lansdowne 75. Woburn 14S.
A. assisting at rape of Persephone
Ince 281. London, Lansdowne 77;
Soane 26. — Mirror: A. and Perseus
Liverpool [20]

Athlete : Apoxyomenos St. London,
Lansdowne 36 ? ; boxer St. ibid. 33 ?
36? Marbury 21; pouring oil into
his hand St. London, Lansdowne 3?
Petworth 9 ; different types St,
Wilton 13? 96? — Heads: Ince 152.
London, Lansdowne 62. Oxford 40?
Wilton 51. — &Y Diadumenos. Youth

Attendants near Hygieia R. Petworth
13; on Greek sepulchral reliefs
London, Soane 21. 23; South Ken-
sington 15. 16. Lowther 52. 54 — 57.
Marbury 37. Oxford 89. 90. 92. 96.
127. 142. 143. 146—151. 154. 204
— 206. 208. 209. Richmond 56. 67
— 69. Rokeby 1. 3 — j. Wilton 17. 109

Attic motives copied in Cyprian sculp-
ture R. Oxford 127; on Roman se-
pulchral reliefs nv Sepulchral Reliefs,
Roman

SUBJECTS RKI'kKSLNTElJ.

793

"Atys" //. Cambridge 44. T. Kdin-
burgh, Murray 7. C. Howard 24.
Sei Ganymedes. Paris

Aulomedon leading chariot of Achilleus
A'. Oxford III ? Woburn 319

Autumn see Horae. Seasons

Avenlinus H. Wilton [149] !

Axe, Carian double, R. Oxford 201

Baal, head of, R. Cambridge 14

Bacchante see Maenad

Bacchic heads, male Broadlands 20.
Wilton [36]; female Cambridge 48.
Wilton 34. 43. Sec Amnion. Ariadne.
Dionysos. Maenad. Pan. Satyr. Sei-
lenos

Bacchic masks Broadlands 32. Ince
278. Warwick i. Woburn 10 1.
See Bacchic heads

Bacchic scenes R. Brocklesby 108 a
Cambridge 31. 77. Hovingham i
C Howard 46. 48. Ickworth 3
Ince 243. 266. 288. 30J. 404. Lon
don, I.ansdowne 2,5. Marbury 39,
Newby 34. Oxford 234. Richmond
I. 73. Woburn 61. 144. 147.
Minor Liverpool iS. V. C.
Howard 66. Woburn p. 753. —
B. sacrifice R. London, Lansdowne
58. Purification of term R. Brock-
lesby 29 B. scene played by Cupids

R. London, Mcllhuish. — See Sarco-
phagi

Bacchic symbols combined with those
of Apollo Broadlands 16. Cambridge
50. London, Lansdowne 69

Bacchus see Dionysos.

Barbarian Si. Xewby [32]. 46. 47.
Oxford 48. 54 .' //. Cambridge 43.
B. chieft.iin enthroned R. Oxford loj.
B. horseman R. Wilton 31. B. wife
//. London, S. Kensington 18? Fight
with b. R. Ince 303. B. arms on
sepulchral monuments I x^ndon, Lans-
downe 15. Wilton 129

Barrel on sarcophagus R. Woburn 104

Basket in hand of statue Rossie 5 1

Bath Lowther 107 ; of pavonazietto
Newby 37. See Trough

Battle scene R. Lowther 96. Oxford
84. 85. Richmond 6i

Bear hunted R. Ince 307. 393. Rich-
mond 81 ; seized by lion R. Kossie
84 ; throttling a horse R. Lowther 43;
listening to Orpheus R. Knole 16?

Beard of marlile Brocklesby 76

Bee on garment of Kphesian Artemis
London, Seine 3. Wilton 95

Bidens symbol of Pluto R. Woburn [ 1 82]

Bird eating eel R. London, Lansdowne
76; eating snake R. Wilton 8. B.
in hands of female R. Brocklesby 17.
Rokeby i. Wilton 198. See Boy.
Dove. — B. arrow-feathered ? R. Lon-
don, Lansdowne 76

Bithynia SI. Ince 142?

Boar R. Ince 297. 384 ; hunted R. Ince
244. 307. Lowther 43. Kossie 80,
see Kalydon; boiled in cauldron Si.
Lowther 10 ; devoured by lion R.
Wilton III. Woburn 104. B. near
Artemis SI. Oxford 23; listening to
Orpheus R. Knole 16

Bonus Eventus Si. Wilton i a

Hoot of marble Ince 403

Bow, quiver and snake on throne of
Apollo R. London, Lansdowne 20.
B. and quiver on back of deceased
man R. Oxford 205

Boy. Slat lies : Brocklesby 62 . Liverpool
4. London, Lansdowne 68. Newby
27. Br. Richmond 27. Wilton 52.
132.146. Woburn :23. Three boys
recumbent London, Westmacott 4.
Heads: Ince 155. 182. 183. Br. 212;
with cap Petworth 43. See Child.
Eros. Portraits. — B. sleeping //.
Ince 113; reading R. Lowther ^},\
playing R. Rossie 77; playing with
nuts R. London, Lansdowne 99.
Newby 31 ; at nuts and ball R. Ince
[247a]; running SI. Wilton 21; in
pal.iestra R. Lowther 48; carrying
something R. Brocklesby 48 ; carrying
sacks on back A'. Lowther 45; break-
ing in wild horses R. Lowther 45 ;
revelling R. Oxford 106 — 108. Rich-
mond 72; stealing fruits from alt.Tr

794

A'. Wilton 59; having stolen S/. Mar-
gam 6; hidden in mask of Seilenos
J!. Wilton 59 ; travesting Herakles
S^. London, Lansdowne 57; on dol-
phin K. Woburn 237 ; riding on goat
St. C. Howard 9. B. with bird St.
Marbury 19. Oxford 175. /i. Ox-
ford i-i2; with box St. Richmond
45 ; with grapes Si. Marbury 9 ; with
pitcher Si. St Ann's Hill 5; with
swan .5"/. Ince 45 ; with wreath J\.
Oxford 231. B. representing seasons
see Seasons. — Sec Youth
Bread, loaf of. Mosaic Rossie 136; at-
tribute of Vesta J?. Wilton 1 3 a
Bride Ji. Liverpool 2. Wilton [199]
Bronzes Cambridge pp. 267 f. Canter-
bury p. 276. Hyde p. 333. Liver-
pool p. 428. Oxford p. 572. Pipp-
brook. Woburn p. 753. — Siatiies
and statuettes : Bignor 2. Cambridge
103 — 107. Chatsworth 2. Edin-
burgh, Murray 5. Hovingham 2. 3.
C. Howard 54 — 63. Ince 66. 67. 73.
Liverpool i. London, Westmacott
7. Lowther 9. Petworth 75. Rich-
mond 18—27. 29. 33 a. 37—39.
Rossie 139 — 142. Stanmore i — ij.
20. Woburn 128. — • Heads: Blen-
heim I. 2. Chatsworth 4. 6. Ince
169 — 171. 212. 213. 217 e. London,
Apsley [7]; Stafford [3]. Oxford
[195]- 232. 233. [238]. Richmond
28 — 31. Stanmore 17. iS. W'ilton
210. 211. — lVei\'/it: Richmond 31.

— Reliefs: Bignor i. Edinburgh,
Murray 4. Liverpool 14. 15. 19.
20. Petworth [51]. Richmond 34.
35. Stanmore 16.' — Mirrors:
Cambridge 108. Canterbury 131.
C. Howard p. 332. Liverpool 16
— 18. Richmond 36. 39. Rossie 143.

— Vases: Edinburgh, Murray 6.

Richmond 32. 33. Rossie 142

Lamp: Ince 409. — Arniour: Rossie
145. — Fibulae: Rossie 146. —
Stamp: Rossie 147

Bronze statuette meant to be hung up
Richmond 2 ;

Bucrania on sepulchral monuments Ince
283. 291. 309. 324. 327. Oxford
119. 153. See Bull's head

Bull St. Hillingdon. Br. Stanmore
19. B. watched by herdsman R.
Ince 287; hunted R. Oxford 136;
led to sacrifice R. Brocklesby 64.
Ince 277. Wilton 33; strangled by
lion Oxford 137. B. on sarcophagus
R. Wilton 155. B. indicating the
name Taurus R. C. Howard 50

Bull's head supporting club of Mel-
pomene H. Woburn 148 ; grasped by
winged lion R. Marbury 45; on se-
pulchral monuments Oxford 96 — 104.
209. 210. Rossie 102, sec Bucrania

Bulla round child's neck Ince 222.
Newby 4. Petworth 41 ; round man's
neck Ince 232; round lion's neck
Ince 374

Bupalos, sculptor, Ince 30

Busts Clumber p. 278. Penshurst.
Stratfield Saye. — B. on sepulchral
monuments Ince 222. 226. 227. 302.
340. 364. 397. 398. London, Lans-
downe 15. 21 — 24. 73. loi. Lowther
109. no. Oxford 91. 155. 231; on
medallion Oxford 114. 116. Rich-
mond 6:^. 73. Stanmore 17. Wilton
III. 143; framed in shell Ince 336.
378. Liverpool 11

Butterfly R. Ince 299. 300. 315. 339;
in hands of Psyche St. London,
Lansdowne 70

C see K

Cabinet with open doors R, Richmond

68
Cake Mosaic Rossie 136
Calantica Deepdene 25. Ince 61.

London, Lansdowne 38. Osborne 3
Camilhis assisting at sacrifice R. Ince

277; holding a pig St. Petworth 53
Candelabra Deepdene 43. Ince 241.

London, Lansdowne 96. Oxford 241.

242. Woburn 173. R. Ince 251.

333. 341. Oxford 224; between Cen-
taurs Marbury 4 1
Capitolinc temple R. rclworlli [;i]

SUBJECTS REPRESKNTKD.

795

Cart in liunling scene M. Incc 307

" Caryatiiles " Jancinj; A'. Richmond 66

Cauldron with boar ^"iV. Lowther 10;
before Zeus /". Wilton 48

Centaurs in Bacchic scene, making
music A'. C. Howard 48. London,
Lansdowne 25. Marburyji; draw-
ing chariot of Ariadne X. Richmond
73, of Dionysos /f. Cambridge 31.
Richmond 73. London, Lansdowne
25; Soane 27. Newby 34, of He-
rakles Woburn 144. C. and panther
A". Ince 267. Cupid- C. /{. Lon-
don, Mellhuish. — C. female Ji. Cam-
bridge 3r. Woburn 144. — Fore
part of C. y. Liverpool 24

Cerberus Si-e Kerberos

Ceres see Demeter

Chachrylion, vase painter, Cambriilge
p. 267

Chariot decorated with reliefs A'. Cam-
bridge 31. Woburn 144; of Helios
A". Ince 221 ; of unusual shape A".
London, Lansdowne 25

Chariot-race see Eros. Sarcophagi

Chastisement, menace of, Oxford 221.
Ch. of female slave A?. Oxford no?

Cheniskos of ship A?. London, Lans-
downe 76

Child, Bacchic, ff. Rossie 13. See
Boy. Girl

Choragic relief Ince [371 a]

Christian monogram on T. Lamp Rossie
148. — Good shepherd A". Ince 396

Chryses and Agamemnon A". Cam-
bridge [66]

Chrysippos and dog V. Liverpool 27

Cineraria Broadlands 7. 8. 30. Brock-
lesby 66. Cambridge 81 — 91. Chats-
worth 3. Deepdcne 10. 11. llolkham

49. 50. C. Howard 51. 52. Ince
220. 230. 231. 234—237. 240. 242.
299. 300? 311—339- 341— 358- 360
— 363.371. London, Lansdowne 15.
[18. 19.] 92; Soane p. 480. Lowther

50. 60. 95. Marbury 44. 45. Oxford
119. 215. 216. Richmond 80. Ros-
sie lot — 103. Woburn 132. 186.
See Altars. Cippi. Sepulchral reliefs

Cippi C. Howard 50 Incc 238. 239.
302. Liverpool 11. London, Lans-
downe 16. 17. 71. 79. 82. lOi. Mar-
bury 43. Oxford 211 — 213. Rossie
91. Wilton 120. Wimbledon i.
Woburn 56. See Altars. Cine-
raria

Circus, architecture of. A". Ince 255.
273. London, Soane 32. Lowther
45. 46. See Eggs. Meta. Spina

Circus games A". Oxford 137? See
Sarcophagi

Cista S/. Ince 63; on head of Kisto-
phoros St. Cambridge i ; in Bacchic
scene A". Woburn 144?, with snake
A'. Broadlands 32. Cambridge 77.
Ince 266. Newby 34. Richmond 73.
Woburn 61. 147; attribute of De-
meter S^. Ince I ; of Vesta A'. W'ilton
'3a

Club dedicated to Herakles Cambridge
II?; attribute of Melpomeni i?. Wo-
burn 148

Cock Si. Ince 59. Mosaic Rossie 136.
Attribute of Hermes St. Bignor 2

Coins Cambridge p. 267. London,
Bale. Wentworth House. Wilton

P- 715

Columbaria Drawings Windsor XVII

Conclamatio R. Lowther 44

Cornucopiae, symbol of Agathodaemon?
R. Edinburgh, Ant. Mus. 3 ; of Bonus
Eventus St. Wilton i a ; of Demeter
St. Cambridge 116; of Harpocrates
A'. Woburn 98 ; of Herakles St.
Richmond 3 a; of Tyche St. London,
Lansdowne 33. Lowther 68; of
youth R. Ince 291; of Zeus R.
London, Lansdowne 74? Gem Ros-
sie 158

Counter of vintner R. Ince 298

Cow near Demeter St. Cope (n. 172).
Ince I ; drawing chariot of Selene A'.
Woburn 86 ; guarded by herdsman A'.
Knolc 17; on sarcophagus of Endy-
mion R. Woburn 86. See Bull.
Oxen

Crab's claws on head of god of fountain
R. Incc 253

796

INDEX III.

Crane on candelabrum S/. Oxford 241 ;

attacking evil eye vV. Woburn 99
Crescent on horse's neck A'. Ince 229.

274. Cr. and kalathos in statue of

Tyclie Rokeby 6
Crocodile near the Nile St. Holkhani

41
Ctuullus Canterbury 135? Ince 113.

Wilton 146
Cup, richly ornamented, Ince 401
Cupid see Eros
Curlius leaping into tlie gulph A'.

Wilton [87]
Cuttle-fish seized by dolphin St. Rich-
mond 1
Cymbals on sepulchral monuments K.

Oxford 150
Cypresses on sepulchral relief Ince 317
Cyprian sculptures Liverpool 8. Oxford

127. 12S

Daphnis and Pan St. Petworth 12

Death and Sleep see Eros

Deceased man surrounded by Cupids
J?. Richmond 74 ; represented as En-
dymion A', Woburn 86; deceased
couple represented as Meleagros and
Atalanti^. Wilton 129; deceased man
and girl amidst Muses R. London,
Lansdowne 75

Deidameia and Achilleus R. Cambridge
76. W^oburn 1 1 7

Demeter. Staines : seated from Knidos
§ 93 ; Br. with cow in lap Cope
(n. 172); with cornucopiae Cam-
bridge 116; with cista, cow, pig
and tympanon Ince i ; arbitrarily
named Wilton 116. 131. W'obum
f 5. Standing Marbury 2 ? Wilton
145. 158 a; arbitrarily named Broad-
lands 13. Cambridge i. Holkham
28. 34. C. Howard i. 2. Ince 4.
Pippbrook 2. W'oburn 171. Un-
certain types Stourhead i. Went-
worth Castle 4. 5. — Reliefs: London,
Soane 19. D. sitting on rock near
Triptolemos A'. Wilton 137; search-
ing Persephone London, Lansdowne

77; Soane 26; and Zeus? London,
S. Kensington 13

Diadumenos H. Broadlands 10. Deep-
dene 16. Ince 117. London, Lans-
downe 62. Oxford 186. 196. Pet-
worth 24. See Athlete. Youth

Diana see Artemis

Diomedes at Skyros R. Cambridge 76.
Woburn 117 ; and Dolon T. Liver-
pool 24 ; with the Palladion St. Lon-
don, Lansdowne 89 !

Dionysos. Statues: bearded Br. Cam-
bridge 105. Deepdene 36. Youth-
ful, with both arms lowered T.
Canterbury 15. Deepdene 20. Holk-
ham 25. Ince 32. London, Lans-
downe 91. Woburn 207?; resting on
r. leg with 1. ami lifted up Oxford 40?
Lowther 62. Petworth 14. Wilton
68 ; leaning on tree with r. arm
Ince 31. Wilton 234; with 1. arm

C. Howard 8. Wilton 230. Woburn
201 ; and with r. arm on head Lon-
don, Lansdowne 31; in chiton Pet-
worth 10?; leaning on idol of Spes
Deepdene 3. D. infant 7'. Canter-
bury 4. Uncertain types n. 243.
Duncombe 4. Ince 62. 73. London,
Lansdowne 108. Br. Stanmore 15.
Wentworth Castle 3. Wilton 232 ! —

D. and Eros Brocklesby 90; and
Maenad Marbury 8 ; and Satyr Mar-
bury 23; leaning on Seilenos Rich-
mond 6; held in arms of Seilenos
Wilton 70; and Pan Lowther 63.
Nevvby [3]. — Heads: bearded Cam-
bridge 47. 53? Br. Chatsworth 4.
Deepdene 38. 44. 45. Holkham 47.
C. Howard 22. Ince 127. 160. 165.
166. London, Lansdowne 7. 8; Staf-
ford 2. Oxford 61. 181. 230. Pet-
worth 21. 22. Richmond 48. 49. 64.
Rokeby 14. Rossie 10. 11. 18. Wil-
ton 4. 41. [90]. Woburn 178. youth-
ful Cambridge 8. Canterbury 143.
C. Howard 23. Ince 96. London,
Elcho. Oxford 180. 228. Petworth
p. 617, no. 50. Rossie 5; archaistic
Petworth 20; winged Broadlands 25.

SUBJECTS REPRESKXTKD.

797

Uncertain type Ince i6y. — Kcliifs: p.
^oi. Wilton 113! Wobum 189.
Birth of D. Ince J48; D. tended by
Nymphs Woburn 169; in fan Cam-
bridge 3 1 ; in Bacchic company Cam-
bridge 77. C. Howard 48. Ince 266.
London, Lansdowne 58 (bearded);
Soane 28. Richmond i ; triumphant
on chariot Cambridge 31. Ince 249.
London, Lansdowne 25; Soane 27.
Xewby34. Richmond 73. 75. Wo-
bum 61. 144; and Ariadne Blenheim
3. Newby34. Richmond 73. Newby
6 1 ; leaning on Eros Br. Richmond
34; and Satyr Ince 225. D. assisting
at Persephone's return from Hades
Wilton 137. D. and Horae Wilton
I. D. represented by Eros London,
Mellhuish. Statue of bearded D.
London, Soane 29. Mask of D. Ince
388 ; bearded Oxford 220. 241. Rich-
mond 82. Br. Stanmore 16. War-
wick I ; youthful Edinburgh, Murray
3. Warwick i. Wilton 155

Dionysos, symbols of, see Bacchic sym-
bols

Dioskuroi St. Marbury 17. Br. C.
Howard 61? Stanmore 6. — //.
Houghton 13. C. Howard 29. Ince
198, 199. Petworth p. 617, no. 37. —
R. London, S. Kensington 14. Ince
271. 272; on sepulchral monuments
Ince 233. 264. 265. 337. Rossie 83.
W^ilton 129; assisting at hunt of Ka-
lydonianboar Broadlands 21. Rich-
mond 57. Wobum 61. — Mirror
Rossie 143?

Diptychs of ivory Liverpool p. 428.
Narford

Disks of marble » ith reliefs Cambridge
70 — 72. Holkham 52. London,
Lansdowne 69. Marbury 39. Wo-
bum 92. 94

Diskobolos after Myron Si. London,
Lansdowne 89; similar type Br.
Richmond 38; Attic type (after Alka-
menes?) St. Buncombe 2

Doe near Eros R. Wobum 92 ; near
man R. Brocklesbv 11 1

Dog Br. Chatsworlh 2. St. Deepdene
21. 23. Duncombe i. Shepherd's
dog R. Oxford n8. Woburn 86.
D. in hunting scene R. Ince 244.
-4''. .^07. 393. Lowthcr 43. Rich-
mond 81. Rossie 80. Woburn 61.
1 10. D. on sepulchral reliefs Cam-
bridge 21. 22. 24. III. Ince 239.
London, Lansdowne 73. Oxford 204.
206. 208. D. near Artemis St.
Oxford 23. Petworth 52 ; drawing
Eros' chariot R. Lowther 47; near
.Seilenos St. Cambridge [35]; near
Silvanus .Sy. Rokeby8; forming part
of Skylla's body St. Oxford 33

Dog's head in capital of pilaster j?. Ox-
ford 123. 124

Doll in hand of girl R. Winton i

Dolon T. Liverpool 24

Dolphins ornamental R. Ince 283.
Oxford 241 ; on Corinthian capital R.
Ince 304; on prow of ship London,
Lansdowne 76 ; incised on marble
Cambridge 13; on sepulchral reliefs
Ince 317. 332. 342. Liverpool 11.
D. carr)'ing boy T. Wobum 237,
female Alirror Richmond 36. I).
attribute of Aphrodite St. Ince 36.
Newby 6. Richmond 41, seizing a
cuttlefish .St. Richmond 2 ; of Eros
St. Ince 26. Br. 66. T. Liverpool
21. .9/. Oxford 157. 161; of draped
man St. Wilton 56; of nj-mphs R.
Ince 282; of Poseidon St. Cambridge
104. Holkham 18, combined with
attributes of other deities Br. Rich-
mond 25. D. in circus R. Ince
255. Lowther 45. 46

Door of marble Brocklesby 9. Door on
sepulchral reliefs Ince 232. 317. 318.
326. 396. Oxford 213. Rossie 79.
Wilton 60

Double terminal busts, Bacchic Broad-
lands 16. Cambridge jo. 51. 59.
Ince 160. London, Lansdowne 7. 8.
107. Petworth 22. Pipbrook 3. 4.
Richmond 48. Rossie 11. 18. Wil-
ton 34. [36.] 41 ; male with helmets
Ince III. Richmond 47; male and

798

, female Ince 112; female Cambridge
38. Ince 206. Oxford 227; of
Aristophanes and Menandros Wilton
35; of Epikuros and Metrodoros
[Ramsgate]

Dove Si. Woburn 133; attribute of
Aphrodite T. Canterbury 13. J\.
Lowther 42 ; in hands of girl H.
Brocklesby 17 (§ 66). Richmond 10

Drapery(?) hanging from tree R. Roke-
by I

Drapery, female, fastened under r. arm-
pit with a cord St. Deepdene 7. Wil-
ton 159

Ducks in hand of Winter St. Petworth
16

Eagle St. London, Wemyss (§ 41). R.
Ince 381 ; supporting arms of chair
London, Lansdowne 26 ; on candela-
brum R. Oxford 224. 241 ; on sepul-
chral monuments, frequently; de-
vouring hare R. Blenheim i; and
snake /".Ince 318. E. with wings
terminating in snakes R. Wilton 120.
E. on garment of Ephesian Artemis
London, Soane 3 ; on hand of Zeus
R. Wilton 48. 113. See Ganymedes.
Zeus

Eagle's head as ornament of leg of
chair London, Lansdowne 20; on
handle of sword Windsor 4

Ears on votive relief Woburn 193

Ears of corn, attribute of Demeter St.
Lowther 68; in hand of priestess R.
Oxford 149

Eggs (ova) in circus R. Ince 255. Lon-
don Soane 32. Lowther 45. 46

Egyptian sculptures Rokeby p. 647.
Idols St. Ince 61. 75. London,
Lansdowne 76 a. b. Woburn 65.
Architectural St. Deepdene 25; I/.
Wilton 99. Portrait of Hefeknecht
St. Wilton 74. Priest St. Brocklesby
109. Priestess St. Wentworth Castle
2. Female 6'/. Ince 53. 56. Relief
Ince 295. Sarcophagus London,
Soane 39

Elektra St. Marbury 6?

Elephant in Bacchic procession R. Cam-
bridge 31. Newby34. Woburn 144.
E.'s heads on candelabrum Oxford
242. E.'s hide on bust of Africa
Broadlands 19

Emperor in triumphal procession Gem
Bignor 3. See Portraits

Endymion and Selene R. Porta Aurea
p. 189. Warwick 2. Woburn 86

Enigmatic relief Deepdene 42

Eos looking at Alkmene's funeral pyre
V. C. Howard 66

Erinys Br. C. Howard 60 ; near Althaea
R. Wilton 61 ; on Etruscan urns
Cambridge 80. Liverpool 12. 13

Eros. Statues: standing Cambridge 5.
Marbury 7. Oxford 160. Woburn
204; resting on torch Oxford 35? 36;
stringing his bow Brocklesby 113. C.
Howard 7. Ince 193. Wilton 124;
having shot an arrow? C. Howard 6;
plucking grapes Richmond 3. Newby
20; flitting through the vine Rich-
mond 3; dragging Herakles' arms
Brocklesby 82; travesting Herakles
Knole 5. London, Lansdowne 57;
sitting on ground London, Apsley 9 ;
sitting asleep London, Soane 4; lying
asleep Broadlands 29. Ince 74.
Knole 5. London, Lansdowne no.
Lowther 66. 67. Oxford 37. 162.
Wilton 112. 136. Woburn 82, with
a lion near him Rossie 4 ; with attri-
butes of earth and sea Ince 26; with
dolphin Br. Richmond 25?; sitting
on dolphin T. Liverpool 21. Oxford
161, near Aphrodite Oxford 157. E.
and Aphrodite Boynton 3. Edin-
burgh, Murray 5. Oxford 157. Rich-
mond 40; and Dionysos Brocklesby
90; on Hygieia's arms Lowther 4;
and Psyche Deepdene 22. London,
Lansdowne 70, near Aphrodite Ox-
ford 156; enchained by Psyche Wil-
ton 1 46. Term of Eros Newby 28. —
Reliefs: Cupids playing Richmond 76 ;
driving a hoop Oxford 115; frighten-
ing his companions with mask Ince
378; revelling Knole 14; collecting

SUniKCTS UKPRKSKXTEn.

799

fruits Richmond 74; gathcrinj;
quinces Ince 196; weaWng wreath
Richmond 74; making music Rich-
mond 74; blowing lul)a Ince 335;
playing with arms Oxford 113;
armourers London, Holland ; Lans-
downe 98; busy at stove Rossie 55;
hunting Lowther 43; wrestling Ince
335 ; racing Ince ^47. 255. London,
Soane 32. Lowther 45. 46; riding
with palm branch Ince 356. 257 ; on
chariots drawn by different animals
Lowther 47; on dolphin Ince 233;
on marine animals Ince 254; among
sea-monsters London, Lansdowne 76.
Oxford 120; reposing on doc Wobum
92. Cupids on sepulchral monuments,
frequently; silting asleep London,
Lansdowne 71 ; leaning on torch Ince
363- 371- 375- 396- Richmond 77.
78, etc.; holding torch Ince 377.
Wilton 198, etc.; holding shield
Wilton 104; holding inscription, Lon-
don, Lansdowne 100, etc.; occupied
about a deceased man Richmond 74.
E. in Bacchic scenes Blenheim 3. Ince
266. London, Lansdowne 25; Mell-
huish. Wobum 61 ; playing with lion
Newby 34; riding on panther Rich-
mond 75; supporting Dionysos Br.
Richmond 34; on Centaur's back
Newby 34. Richmond 73 ; wrestling
with Pan Cambridge 31. Newby 34.
Richmond 73; carrying away Pan
Cambridge 3r. Eros and Psyche-
London, Lansdowne too. Eros com-
panion of Aphrodite Br. Bignor i.
Ince 262. 376. London, Lansdowne
74. Br. Richmond 35 ; of Graces
Wilton 49; of Nereids Wilton 115;
of Seasons Rossie 76. Wilton 138;
of Tyche Richmond i ; of triumphal
procession Gem Bignor 3. Eros
assisting at scenes of love : Achilleus
and Deidameia Wobum 117; An-
chises and Aphrodite Br. Bignor i ;
Endymion and SelenJ; Porta Aurea
p. 1 90. Wobum 86 ; Meleagros and
Atalantc Woburn no; Paris and

Helena Marbury 3G; rape of Perse-
phone London, Lansdowne 77 ; Soane
26. Cupids travesting rape of Per-
sephoni; Ilolkham 50. Cupids

ending in foliage C. Howard 52.
Statue of Eros Ince 305? — Painting:
Eros attending a female Oxford 129.
See Boy

Eteokles and Polyneikes R. Liverpool
'3

Etruscan bronzes C. Howard 58. Lon-
don, Bale. Richmond 33 — 36. Rossie
144. Stanmore 10 — 13. 16. Mirrors:
Cambridge p. 268. Liverpool 16 —
18. Pipbrook. Richmond 36. Rossie
143; with raised outlines Liverpool
[20]. Mirror case Liverpool 19. Rich-
mond 34. 35

Etruscan sepulchral urns Pippbrook 7 ;
Oedipus and Laios Liverpool 12?;
Eteokles and Polyneikes Liverpool
13; battle scenes Lowther 96. Rich-
mond 6 1 ; quadriga and warriors
Lowther 97 ; man and wife Cam-
bridge 80

Euterpe St. Lowther 5. See Muses

Evil eye K. Wobum 99

Eyes of ivory in marble statue Deep-
dene 39

Faces blocked out on sarcophagi Wilton

129. Wobum 86
Family scene on Roman cippus R. Ince

302
Fan (vanniis) on Seilenos' head 5'/. Pet-

worth 54; used in Bacchic scenes .ff.

Broadlands II. Cambridge 31. Wo-
burn 6 1
Fate see Moira
Fathom (dp7wd), youth showing length

of, R. Oxford 83
Faun see Pan. Satyr. Seilenos
Fawn attribute of Hera? St. Boynton

I ; mangled in Bacchic scene R.

Newby 34
Female figures. Statues: Archaistic

Deepdene 11. 13. 32; enigmatical

Ince 14; standing Brocklesby 37.

Deepdene 37. Osterleyi; leaning on

8oo

INDEX III.

column Liverpool 3 ; dancing T.
Canterbury t4. 16; sitting Broadlands
^8. Cambridge 36. Torsos Edin-
burgh, R. Inst. p. 299. Woburn 130.
131. Females supporting pedestal
Oxford 237. "Pregnant woman"
Ince 54. Woman and child Cam-
bridge 34. Oxford 240. See Por-
traits.— //t'W^, ideal, Cambridge 61.
C. Howard 26. London, Lansdowne
52; Soane 11. Newby 26. Oxford
60. Petworth 29. Rossie 8. Wilton
[73]. Woburn 258; on bronze weight
Richmond 31. Gctm; Rossie 152.154.
160. — Reliefs: female with bird
Brocklesby 17. Wilton 198; with
mirror Ketteringham i ; near cande-
labrum Ince 251 ; feeding snake
Rokeby i; dancing Ince 218. Wim-
bledon I ; sitting Cambridge [loi];
sitting not at foot but at head of couch
Ince 261; lying on death-bed Cam-
bridge 85 ; mourning Lowther 44 ;
playing flute on funeral occasion
Broadlands 3. Ince 233. P'emale
with palm branch on garment of
Ephesian Artemis Wilton 95 ; winged,
as above, Wilton 95; on Etruscan
mirror Cambridge p. 268. Liverpool
16. See Girl

Fence enclosing wild beasts R. Ince 244

Fibulae Br. Rossie 146

Figures ending in foliage R. C. Howard
52. London, Lansdowne 76. Wo-
burn 173

Fillets, woollen (vittae), round ompha-
los Newby 39; adorning sacrificial
bull R. Ince 277; adorning a tree
R. Ince 291; encircling comucopiae
of Tyche Holkham 42. F. and
wreath combined H. London, Lans-
downe, 62

Fish, fragment of, St. Cambridge 13?
Fish lying on three-legged table R.
Deepdene 42

Fisherman St. Ince 47

Flora St. Lowther 6. Oxford 1 1 !
Stourhead 2. H. Ince 107? Os-
borne 4?

Flower on garment of Ephesian Arte-
mis. London, Soane 3. See Rose

Flute played by Orpheus R. Knole 16

Flute-player, female, on funeral occa-
sion R. Broadlands 3. Ince 232

Foot of marble Brocklesby 76. Ox-
ford 176. Woburn 136. 137

Foot- measure, for the use of architects,
R. Oxford 83

Foot, Roman, derived from Greek ar-
chitects' foot Oxford 83

Fountain decoration St. Aphrodite
Ince 36. Newby 6? Newby 6; boy
with pitcher St Ann's Hill 5 ; Eros
London, Soane 4. Oxford 161. Wil-
ton 112; Narkissos Rossie i; Nile
Holkham 41; Nymph Marbury 13.
Oxford 10 ? Wilton 8 ; Seilenos
Newby i

Fringed cloak of Aphrodite .S'^. Rich-
mond 2 ; fr. chiton in Oriental cos-
tume St. Petworth 56

Fury see Erinys

"Galatea" St. Ince 36. Newby 6
Ganymedes St. Deepdene 24? London,
Lansdowne 39? Margam 7? Newby
[5]. H. Cambridge 44? Br. Ince
170? Woburn 129? G. and eagle
.St. London, S. Kensington 3. Pet-
worth I ; carried by eagle R. Can-
terbury 44. Antinous as Ganymedes
.Sy. Deepdene 8
Geese in family scene R. Rokeby 2 ; in
hands of Eros R. Oxford 114; draw-
ing an owl Mosaic Brocklesby 43
Geison of pediment arched Oxford 148
Gems: Alnwick Castle (Beverley Col-
lection) see Addenda to p. 211;
Battlesden (Marlborough Coll.);
Brocklesby p. 240 (Worsley Coll.) ;
Cambridge p. 271 (King Coll.); C.
Howard p. 332; Ince p. 415; Lon-
don, Bale; Devonshire; Richmond
p. 643; Rossie 151 — 160; Windsor
pp. 717. 718. — Cameos: Bignor 3.
Rossie 151 — 153. Windsor 2. 4. In-
taglio rilievato Windsor 3. Inta-
glios: Rossie 154 — 159

SUUJKCTS KKPRESEXTEl).

80 1

" C.crmaniciis' tomb" Oxford 1 1,^. § 34

Giaiil witli poimed oars ^V. Willoii 5 ;
serpent-legged, on shoulder-Hap of
corslet A'. Richmond 63. G. and
Zeus Cfni Rossie 151; and Herakles,
imitated from Giants' frieze of Perga-
nion, Sf. Wilton 5

GirafVe? in liacchic scene A'. Woburn
'4+

Girdle bound round breast of Nymph
(strofiJiion) A'. Ince 275; of chiton,
girt round hips St. Lowther 3. Ox-
ford 22

Girl H. London, Lansdowne go. IVt-
worth 32. 48. Richmond 55. Ter-
minal ligure London, Lansdowne Xi.
Girl arranging her hair T. Richmond
14; dancing J\. Richmond 66; with
garland A. Incc 304; with bird K.
Brocklesby 17. S/. London, West-
macott 5. — Sa Child. Female. Por-
traits

Gladiator leading nude men A. Oxford
137?; attacking evil eye A. Woburn
99

Glass articles C. Ashby p. 211. Cam-
bridge p. 267 (from Cyprus). Hyde
P- 333- Ince 405. 406. Liverpool
p. 428. London, Hamilton. Pipp-
brook

Glaukos and Skylla P. Brocklesby 36

Globe with constellations, lying on tri-
pod, a. Woburn 148

Goat Si. Broadlands 27; on sarcopha-
gus Ji. Wilton, 155; in Bacchic
scene A'. London, Soane 29. Oxford
109. Woburn 144; and Satyr St.
Ince 35. A. Maibury 39; attribute
of Hermes St. Incc 29; listening to
Orpheus Jf. Knole 16

Goat's skull on candelabrum Oxford
241

Goblet of silver Stanmore 20

Gold ornaments Liverpool p. 428. Lon-
don, Bale; Burlington

Gorgoneion see Medusa's head

Gorgons R. Stanmore 16. See Medusa

Graces K. Brocklesby 1 1 . Penrice.
Wilton 49
M. C.

Grapes, children treading. A". C. How-
ard 48. Woburn 147

Grasshopper A'. Ince 300

GriflTui, four legged, St. Ince 79; sitting
under chair A'. Ixmdon, Lansdowne
2; sacred to Apollo R. London,
Lansdowne 69. Gr. on sepulchral
reliefs Ince 276. 318. 333. 357. 363.
London, Holland ; Lansdowne 16.
17; Soane 33. Lowther 44. Mar-
bury 43; near tripod Wilton 120.
'.^7; gf'isping a ram's head Ince 276.
Wilton 104. Gr. devouring st.ag A'.
Woburn 69. Gr. on helmet of A-
thene R. Deepdene 39. Ince 402?;
on garment of Ephesian Artemis
London, Soane 3. Wilton 95

Hades, the deities of, R. Ince, 306.
See Pluto

Hammer on sepulchral monument A".
Woburn 132

Hare St. Ince 78; hunted A". Ince 307;
and eagle A'. Blenheim i ; on sepul-
chral relief Richmond 74 ; held by
Bacchic boy R. Woburn 147 ; at-
tribute of Winter St. Petworth 16.
R. Wilton 138

Harpokrates St. London, Lans<lowne
68 ? Oxford 35 ! R. Woburn 98

Head of hero Margam 14. Petworth
23; of heroine Petworth 27; of war-
rior Edinburgh, Ant. Mus. 13. Rossie
71. 137; youthful, of Lysippian style,
Knole 3. Head indicating river god
R. Brocklesby 1 ro

Head of difTerent marble let into draped
statues London, Lansdowne 67.
Lowther 15. Petworth 5

Hebe R. Brocklesby 10? London,
Lansdowne 74?

Heifers on group of Pan and Laphnis
Petworth 12

Hekabc visiting Achilleus R. Woburn
219?

Hekati represented by three female
figures St. Cambridge 115?; leading
chariot of Persephone A'. Wilton
137

802

INDEX III.

Hektor taking leave of Andromache
Gem Rossie 159; killed by Achil-
leus R. Cambridge 76 ; bound to cha-
riot of Achilleus R. Wobiirn 219;
dragged by Achilleus R. Oxford 1 1 1 ;
lying on bar of scales R. Woburn 219

Helena and Paris R. Marbury 36

Helenos St. Petworth 56 !

Helios St. Marbury 17 ; on his chariot
R. Woburn 86 ; and Winds R. Ince
221

Hellenistic art : Aphrodite St. Newby
6; Dionysos and Msenad St. Mar-
bury 8 ; Eros in vine St. Richmond
3; Eros and Psyche St. London,
Lansdowne 70; Hermes- lason St.
London, Lansdowne 85 ; heroic
head Margam 14

Helmet ornamented with figures on
horseback C. Howard 21 ; of Athene?
Ince 402. H. of Ares combined
with attributes of other gods Br.
Richmond 2=;

Hen on sepulchral relief Wilton 155

Hephoestos implored by nymphs R.
Ince [282] ; with other deities R.
Liverpool [23]

Hera. Statues : seated T. Canterbury
5.6. Cambridge 36! London, Lans-
downe 87 ! standing, with fawn
Boynton i (§ 59) ?; Farnese type Pet-
worth 4; Loriumtype Holkham 34?;
other types Holkham 33 ! Ince 3 !
Stourhead i. — Heads: from Girgenti
§95; Cambridge 9? Ince 129! 167!
173. London, S. Kensington 19!
Petworth 27? — Reliefs: Hera assist-
ing at birth of Dionysos R. Ince 248;
and Zeus Cambridge 68. Knole 15.
London, S. Kensington 13?
Herakles. Statues: H. as child, with
snakes Wilton 132 ! youthful, in
style of Lysippos, London, Lans-
downe 61. 0.xford 39? Br. Stan-
more 5. bearded Wilton i c ; with
cornucopiae Richmond 3 a ; drunk
Brocklesby H2. Br. Cambridge, 102.
Margam 4; in repose (Farnese type)
London, Lansdowne 74, travested by

boy London, Lansdowne 57, by Seile-
nos Deepdene 18. Of uncertain age
/?r. C.Howard 57. 63. London, Soane
2. jS'r. Lowther 98. Richmond 43?
Rokeby 15. Rossie 2. Br. 139.
140. Br. Stanmore 15. Wilton q6?
H. invictus, seated, with corslet and
shield, Liverpool 2. — H. and lion
Oxford 38 ; and stag Br. Hovingham
3 ; and Antaeos Br. Hovingham 2.
Marbury 14. Wilton 223 ; and Giant
Wilton 5; and .Satyr Wilton 175.—
Heads : Brocklesby 102. Ickworth 1;
youthful Brocklesby 33. 74. Hough-
ton 7. C. Howard 27; Ince 114.
117! 163! London, Stafford 4. Ros-
sie 12. Woburn 80; bearded Ince
97. London, S. Kensington 6. New-
by 9. Warwick i.— Reliefs : Oxford
242. Gem Rossie 143; recumbent
Brocklesby 23. Oxford 135. birth
of H. Ince 248? stories of H. Porta
Aurea p. 189. H. and bull T. Rich-
mond 17; and Centaur Oxford 202;
and Hydra Oxford 202 (H. infant).
T. Richmond 16; and lion T. Rich-
mond 15; and snakes Oxford 202?;
and Stymphalian birds Oxford 202 ;
in Bacchic company Porta Aurea p.
190. Blenheim 3. Ince 275. Wo-
burn 144; in Hades Ince 310? term,
of H. on sepulchral relief Ince 260;
mask of H. Richmond 82.— H. and
Hesperid Mosaic Wilton [27]; and
Nereid Mirror Richmond 36?— at-
tributes of H. R. London, Soane 24.
Oxford 202 ; given to Eros St. Knole
5. Lowther 67; cuirass and shield
of H. St. Liverpool 2

Herdsman St. Marbury 16; in Phry-
gian costume Wilton 231 ; and cattle
R. Ince 287. 391. Knole 17. Oxford
118. Rossie 83. Woburn 86

Hermaphrodites standing St. Deepdene
26. Oxford 34; terminal figure New-
by 28!; recumbent 5/. London, Lans-
downe 12. Wilton [204]; suckling
infants St. Ince 25 ; and Satyr St.
Ince 30

SUBJECTS REPRESKNTF.n.

803

Hcrmeros S/. Newby 28

Ileriiies. SlaliiiS : Duncombe 6. 10.
II. Kriophoros Wilton 144; Belve-
dere type London, Lansdowne 65.
Wilton 13?; tying his sandal London,
Lansdowne 85 ; different types of
standing H. Incc 28. 29. London,
Lansdowne 35. Br. Richmond 21. 22.
23? Rokeby 7! Shobden (§ fy).
Wilton 14!; seated Br. Bignor 2; as
a boy Ince 27. — Heads: Petworth 2,s?
Wilton 200?; Belvedere t5'pe Petworth
[26]; with petasos liroadlands 8.
Ince 106. 157. London, Lansdowne
88. Oxford 229; with helmet Rich-
mond 47? — /beliefs: T. Canterbury
43. London, Soane 34 ; H. bearded
Wilton 113; with many attributes
Rossie gr ; bust of H. Brocklesby 66 ;
H. with other deities T. Liverpool
[23]; with infernal deities Ince 306;
assisting at birth of Dionysos Tnce
248 ; and Muses London, Lans-
downe 7; ; and nymphs Brocklesby
no; assisting at rape of Persephone
London, Soane 26; in scene of Trip-
tolemos Wilton 137?

Hermogenes, vase painter, Cambridge
p. 267

Hesperide and Herakles Mosaic Wilton
[27]

Hestia SI. Cambridge 36! 37! //.
Ince 190? H. Wilton, 13 a. 113?

"Hierodules" dancing H. Richmond
66

Hieroglyphics Ince 60^ Wilton 74

Hippocampi carrying Nereids Si. Ince
73 ; on reliefs Ince 253. 254. 367.
London, Lansdowne 27. 76. Lowtlicr
49. Wilton 60. 115

Hippolytos and Phaedra R. W'oburn
58 ; death of H. R. Liverpool 1 : ?
"Hippolytus-Virbius" St. Petworth
10

Hippopotamus, near Nile, Holkham

41
Historical scenes? R. Rossie 72. 82
Hoe used in palaestra R. Lowther 48
Hoplites dromos R. Lowther 48

Ilorac, four, A". Ince 221. Wilton 138;
of .S|)ring and .Summer Mosaic Rossie
136; of Spring and Winter R. Wilton
I ; of Winter St. Petworth 16. Set
.Seasons. — Hora near Demcter R.
Wilton 137; near Seleni R. Wobum
86; in scene of rape of Persephone
R. London, Lansdowne 77; of Trip-
tolemos R. Wilton 137

Horace, cinerary urn of, Wilton [i e].

Horse iff r. Stanmore 15; on Greek se-
pulchral relief Rossie 79 ; decorated
with amulets R. Ince 274. Woo<len
horse of Troy R. O.'cford 1 1 1

Horse's head St. Pippbrook 6 ; on se-
pulchral reliefs Cambridge 18. Liver-
pool 7. Oxford 92. 143. 144. Wil-
ton 109; in capital of pilaster Ox-
ford 123. 124

Horsemen R. Brocklesby 16. 42. 53.
St. Edinburgh, Ant. Mus. 22. /'.
Edinburgh, Murray 1.2. .SV. Marbury
15; hunting R. Richmond 81. — See
.Sepulchral reliefs, Greek

Hunting scenes R. Ince 244. 252. 307.
393. London, Lansdowne 76 ; of Cu-
pids R. Lowther 43. See Kalydon

Hyakinthos and Apollo St. Deep-
dene 4

Hydria, sepulchral Marbury 37

Hygieia. Statues: Ditchley. Ince [67].
71! Pippbrook I !; Hope type Deep-
dene 7. London, L.insdowne 10;
different types Broadlands 14. C.
Howard 5. Ince 68. Oxford 30 ;
wearingErosonherarm Lowther 4. —
Reliefs: seated Petworth 13?; stand-
ing Broadlands 4! Ince 289; with
Asklepios Brocklesby 10. Cambridge
16. Ivory Liverpool p. 428

Hypnos near Ariadne R. Blenheim 3 ;
near Endymion R. Wobum 86. See
Eros

"lason''^/. London, Lansdowne 85
Ibex hunted R. Ince 307. 393. Low-
ther 43 ; devoured by lion R. Wilton
1 1 1

51—3

.So4

Ibis Se. Newby 40; holding a seipciit

Mosaic Ince 41 1
Indian captives in Uaccliic procession

/d. Woburn 144
Inscription on vase of peculiar kind

Liverpool 27
"Inspection of female slave" A'. Ox-
ford 110
Invalid sitting Br. Richmond 29
lo //. C. Howard 25
lole J/. Ince 94 !
Iphigeneia J/. Ince 118!; in Tauris Ji!-

Oxford 117?
Iris assisting at rape of Persephone J!.

London, Soane 26; at Demeter's

search of daughter A'. London, Lans-

dovi'ne 77
Isis S/. Deepdene 37! Holkham 33!

Ince 53 — 55! 76! />r. Rossie 142.

J/. Ince 108. 119! Petworth p. 617,

^90? Rossie 15! Ji. Ince 395.

Head ornament of I. on Tyche's head

a. Richmond i
Isis, priest of, Si. Ince 54 ; priestess of,

Si. Ince 55. jR. Ince 39-;?
Ivory. Casket with reliefs Richmond

I ; diptychs Liverpool p. 428. Nar-

ford
Ivy wreath of Dionysos combined with

attributes of other gods /;';-. Ricla-

niond 25

"Janus " //. Lowther 25. Wilton 35
Jay looking into mirror Mosaic Ince 41 1
Jonah A". Rossie 149?
"Juno Sospita" //. London, S. Ken-
sington 18. — See Hera
Jupiter see Zeus

Kalathephoros St. Cambridge i ?

Kalathos on head of deceased inan A*.
Oxford 144. 145 ; and crescent on
head of Tyche Si. Rokeby 6

Kalydonian boar, hunt of. A". Broad-
lands 21. Ince 246. Richmond =17.
Wobuvn 61. 110

Kanephoros Si. Cambridge i ?

Kassandra //. Wilton 128 ! ; and Wood-
en Horse JH. Oxford 1 1 1

Kukrops, daughters of, A*. Brocklesby

1 10?
Kekryphalos of Hygieia Deepdene 7.

London, Lansdowne 10; of Psyche

London, Lansdowne 70
Kentaur see Centaur
Kerberos in Hades A'. Ince 306 ; near

Serapis Si. Ince 38. 39. London,

Lansdowne 97 ; in scene oT rape of

Persephone A?. London, Soane 26
Kerkopithekos Si. Brocklesby 8
Kid killed by Maenad A". Broadlands

5. II. London, Lansdowne 58
King pursued by youth K. Liverpool

26
Kistophoros Si. Cambridge i. § 67
Kleio seated Si. Oxford 32 ?
Kleomenes, sculptor, § 27 Wilton [87].

124. iji. 159. 170
Klytaemnestra slain A'. London, Soane

.SI?
Kriobolia? A". Deepdene 42
Krobylos C. Howard 46. Ince 15
Krupezion A'. London, Lansdowne 25.

Si. Marbury 22 ? Richmond 42
Kybele Si. Brocklesby 30. Cambridge

3? 37? Ince I? Richmond 7. A/.

Holkham 22? A'. Oxford 86. 131.

132. 159
Kynokephalos Si. Ince 57

Laios and Oedipus Jf. Liverpool 12 ?
Lamps of terra cotta Canterbury 37- —

54. Edinburgh, Ant. Mus. p. 29S.

C. Howard p. 332. Liverpool 27. p.

428. London, Guildhall. Oxford p.

592. Pippbrook.
Landscape treated picturesquely A'.

Ince 290
Laurel wreath of Apollo combined wiili

attributes of other gods Richmond

25 ; on pedestal of statue of Apollo

Petworth 5
Leaden missiles for slings Liverpool p.

Leaping weights (aXr^pes) Petworth 9 ?
Leda and swan Si. London, Lansdowne

78. Oxford 28. A". Ince 378?
Lekythos, sepulchral, of marble, Cam-

SrnjF.CTS KKPKESF.NTED.

805

bri^ijo 2 2. Oxror^l y;; im Atlic sc-
|)iilcliial reliefs Cambridge 112. Ox-
lortl y4
Lclii //. I'elworlh 27?
l.eukuthea S/. Cambridge 34 !
l-ibera St. 13oynton i ? //. Wilton

[..a]!
Lion. S/alncs: crouching § 93. Ox-
ford 17. 118; tearing a bull C. How-
ard ly. 20; supporting Eros lying
asleep Rossie 4; Nemean 1. and lle-
rakles Oxford 38; lion's paw Cam-
bridge 12. — J\eliejs: Lion hunted
Ince 393. Richmond 81; attacking
a man Ince 268 ; tearing its prey Ince
333, an ass Cambridge yi, a bear
Rossie 84, a boar Wilton iii. Wo-
burn 104, a bull Oxford 137, a horse
Ince 229. 274. Knole i6, an ibex
Wilton III; attacked by snake Ince
397 ; decorated with ribbon Ince 273,
with ribbon and bulla Ince 374;
winged, grasping rani's head Mavbury
45. L. in Bacchic scene Ince 249.
London, Soane 27. Newby 34. Wo-
burn 144 ; in lap of Kybele Lowther
68. Oxford 86. 131. 132. 159. Rich-
mond 7. L. on arm of Ephesian Ar-
temis Wilton 95; attacking evil eye
Woburn 99; on sepulchral relief Ox-
ford 153. — Mosaics : Lion Rossie 136;
rending a panther Holkham 45

Lion's head SI. Ince ly.i. A'. Ince 205.
373; in capital of pilaster Oxford
123. 124; on doorBrocklesby g. Ince
232. 304. 396. W^ilton 60; on sarco-
phagus Blenheim 3. C. Howard 4S.
Ince 229. Newby 34. Warwick 2

Lionesses drawing car of Dionysos A'.
Woburn 144

Lizard Mosaic Rossie 136; near sleep-
ing nymph R. Wilton 8

Local deities as accessories of a statue
Oxford 38. 173

Lykomedes and his daughters A'. Cam-
bridge 76. Oxford 21S? W'oburn 117

Lynx's skin (?) on statue of Artemis
I'etworthS!; of Dionysos I'et»c>rth

Lysikrales, ornaments from monument
of, Edinburgh, Am. Mus. 23

Lysippos, style of: Herakles London,
Lansdowne 61; Theseus Ince 43;
head Knole 3

Maenad. .Syo/wj .• Deepdenc 30 ? Ince
ii' 34? Marbury 10; dancing Brock-
lesby 23; supporting Uionysos Mar-
bury 8. — Iliads: Holkham 5. Lon-
don, Mauley j? Osborne 4? — Re-
liefs: Br. Edinburgh, Murray 4.
London, Lansdowne 74. Wilton 76;
neo-Attic style Broadlands 5. Lon-
ilon, Lansdowne 58. Newby 8.
Richmond 1 1 ; and youth C. Howard
46. M. in Bacchic scenes Blenheim
3. Broadlands II. Brocklesby 108 a.
Cambridge 31. 77. C. Howard 48.
Ince 243. 249. 266. 288. 305. Lon-
don, Lansdowne 25. 58; Soane 28.
29; Newby8. 34. Oxford 109. Rich-
mond I. Br. 34. 73. 7j. Woburn 61.
1 44; uncovered by Seilenos Oxford
1 10

Man sitting on tribune A'. Rossie 82

" Mantheos " worshipping Zeus R. Wil-
ton 48

Marmor Parium § 11. 21

Mars see Ares

Masks R. Ince 390. 392. Oxford 122.
Richmond 82 ; Bacchic 7?. Cambridge
72. 73. Oxford 220. Rossie69; comic
//. Cambridge 10. Ince 136. R. 387.
Oxford [174]; of Medusa? R. Cam-
bridge 74; theatrical T. Canterbury
7; tragic//. Ince 130. 131. 134. 134a.
Rossie 37. T. 150., with I'hrygian
cap H. Woburn 62 ; of warrior //.
Brocklesby 32 ; of old woman R.
Rossie 44. Masks in Bacchic scenes
A'. Newby 34. Woburn 144. Masks
on candelabra A". Oxford 224, Bacchic
Oxford 241, tragic Ince 241 j on cin-
erary urns A*. Ince 318. 338. Rossie
103 ; on cornice R. Ince 232, of
Triton Rossie 38 ; on sarcojih.ngi,
B.icchic Cambridge 31. 76. Ince 32 j.
228. 278. London, Lansdowne 80

8o6

INDEX III.

Wilton 155. Woburn 105, tragic Ince
^33- 307- 333- 39^- Lowther49. Ox-
ford 114. Wilton III. 155, with
crown Cambridge 79, with Phrygian
cap Cambridge 31. 86. Ince 253.
Oxford III. Richmond 79. Wilton
137 ; on vases Ince 353. Warwick

1. Woburn loi. 147; see Medusa's
head. Mask for use of vapour
bath London, Soane 35. Wilton 8g.
— See Sarcophagi p. 817

Materials not common in sculpture.
Alabaster H. Cambridge 43. Ince
159. Ji. Liverpool 12. Lowther 96?
97. Wilton [195]. Sareophagiis Lon-
don, Soane 39 ; oriental^/. Deepdene
25. C. Howard 17. R. Rossie 41. —
Basalt .5'/. Brocklesby 109. Ince 56.
60. 75. H. Hamilton 6. Kingston 1.
Newby 36. 38. 43. Wilton 167. [19.3]?
R. London, Lansdowne 76? — Bi-
^\oSt. Cambridge 13. Ince 57. Os-
borne 3. R. Cambridge 80. Lowther
107. — Crystal H. Petworth [p.
617, 290]. — Giallo antico H.

Ince 166. — Green stone Column
Cambridge 8. — Granite Trough
Wimbledon 4; grey spotted St. Ince
77; red St. Ince 58. 61. — Grey
marble in sepulchral monument of
Attic style Oxford 140. — Nero
antico .&. Ince 51. London, Soane

2. Newby [32]. // Hamilton 6.
Wilton [193]? R. London, Lans-
downe 76? 76 a? — Pavonazzetto
St. Ince [69. 70]. Richmond 46. H.
Newby [24]. Bath Newby 37. —
PeperinoZT. Ince 181. — Porphyry
//. Hamilton 3 — 5. Ince 216. 216 a.
385. London, Lansdowne 56. Pet-
worth [p. 617, 290]. R. Wilton 121.
Vase Richmond 13. — Rosso an-
tico H. Ince 161. 165. Rossie 10. R.
Wilton [lOi]. Architecture Woburn
36 — 42. — Touchstone //. Wilton
[■93]? — Verde antico R. Wilton
[121]

Mausoleum sculptures § 92. 93
Measure, Greek, R. O.xlord 83

Medallion (clupeus) with portrait Br.
Liverpool 15 (Drusus). Marbury 40
(Menandros). Richmond 65 (Greek
portrait). Br. Stanmore 17 (Agrip-
pina?). Woburn 33 (Vespasian). 34
(Hadrian); on sarcophagi Ince 223.
375- 397- Oxford 114. 116. Rich-
mond 73. Wilton III. 143

Medeia at Kolchis R. Richmond 12?
and children R. Oxford 117?

Medusa's head, averting evil, R. Cam-
bridge [92J. Ince 133. 135. 270?
Rossie 65 ; employed in architecture
Ince 379. 383. 389; on candelabrum
Oxford 241; on cross bands of female
figure Cambridge i ; on corslet Blen-
heim I. Richmond 63; on door Ince
318. Wilton 60; on pedestal of
group Br. Richmond 37 ; on sepul-
chral monuments Cambridge 87. Ince
220. 238. 242. 301. 317. London,
Lansdowne 82. Lowther 49. Oxford
216; on shield Liverpool 7. Oxford
113. Richmond 58. 60. Rossie 40.
Wilton 61 ; on ship London, Lans-
downe 76 ; on vase Liverpool 24

Meleagros St. § 4. Holkham 20 ! R-
M. hunting the boar Broadlands 21.
Ince 246. Richmond 57. Woburn 61.
no; and Atalante Woburn no;
offering Wilton 129; and Thestiads
Wilton 61 ; dying Wilton 61

Melpomene St. Ince 1 8 ! London, West-
macott 2

Menelaos H. Petworth 23?

Mercury see Hermes

Mermaid on sepulchral relief Ince 317

Meta in Circus R. Ince 255. 373. Low-
ther 45 ; "Olympian" Lowther 94

Metal additions, dowel holes for. Deep-
dene 13. Ince 2. London, Lansdowne
15. 26. Oxford 54. 198. Richmond
68

Mine-workman R. Woburn 96 ?

Minerva see Athene

Miniatures of MS. of Terence, copied,
Windsor xxi ; of Vergil Windsor
XXII f.

Mirror, Greek, Br. Cantcrbuiy 131.

SUBJECTS REPRliSENTED.

807

Uichmoiul 39; Klruscaii «<r Etruscan
bronzes. M. in domestic scene K.
Canterbury 155. A'. Ketteringham i.
Wilton 198

Missiles for slings, of lead, Liverpool p.
4J8

Modius see Kalathos

Moira near Althaea R. Wilton 61

Money found in glass urn Ince 405

Mosaics Brocklesby 43. Canterbury p.
i-fi. Holkham 6. 7. 30.45. C. How-
ard 64. 65. Ince4io — 413. Marbui7
p. 515. Rossie 136 and Woburn
^23. — Drawings of m. Windsor
XI — XIII. — Mosaic relief Wilton
[27]- § '-7

Mother of the gods see Kybele

Mountain god R. Woburn 86. 144

Mullet Mosaic Rossie 136

Muses. Statues: % 19; standing Krock-
lesby 108! Easton Neston 6 ? Rich-
mond 62? Wilton 10 1 118?; seated
Ince 17? 18? [19]? Newby 18. Ox-
ford 31? S'!. Wilton 116? 117? 159? —
Heads: Cambridge 48! Ince 107. 146 !
London, Mauley 2? — Reliefs: Muses
with Apollo and Athene Woburn
148; with Athene and Hermes Lon-
don, Lansdowne 75 ; assisting at in-
terview of Helena and Paris Marbury
36

Myron, diskobolos of, St. London, Lans-
downe 89; youth anointing himself
Petworth 9 ?

Naoies symbolized by emblems : Taurus

C. Howard jo
Narkissos .SV. London, Lansdowne 41 !

Rossie I
Nebris borne by Eros St. Brocklesby

90. Newby 28
Negro .SV. p. 189. 191. //. Newby

43. Br. Stanmore 18
Neniea assisting at combat of Herakles

and lion St. Oxford 38
Nemesis .SV. Ince 33? 82 ! Wilton 10!
Neo-Attic art R. Brcidlands 5. Lon-
don, Lansdowne 58. Newby 8.

Richmond 1 1

Nereids on sca-nionsturs .SV. Ince 83.
R. Ince 376. Oxford 120. Rich-
mond 59. Wilton 115; carrying
arms of Achillcus R. Lowther 13.
Wilton 105; and Herakles Mirror
Richmond 36?

Net used in hunting scenes A*. Ince
•244- .?07

Nikosthenes, vase painter, Richmond

P- 643

Nile St. Brocklesby p. 240. Holkham
41. 0.\ford 164. Woburn [180]

Niki Br. C. Howard 55. F. Liver-
pool 25; hieratic on votive relief
Ince 250 ; and altar V. Canterbury
113; sacrificing bull R. Woburn 236 ;
decorating tripod R. C. Howard 45?;
at tropaeum R. Newby 41 ; on biga
A'. Cambridge 30. N. with Medusa's
mask on head Af. London, Hamil-
ton? N. leading Achilleus' horses
A'. Ince 279; assisting at Amazono-
machia R. Richmond 58 ; with Apollo
and Artemis R. Wilton [i e]; crown-
ing Barbarian chieftain A'. Oxford
lOj?; accompanying Uionysos A'.
Ince 249. Woburn 144, a victorious
emperor Gem Bignor 3, Zeus Mosaic
Ince 410. Victories ornamental A'.
Richmond 66; holding a medallion
A'. Ince 375. 397; on chariot of He-
lios R. Ince 221 ; on pedestal of bust
of Trajan R. Wilton 135. Nike on
hand of Athene .SV. Deepdene [39];
of Zeus Gent Rossie 1 58

Niobe //. Brocklesby 5 (§ ?4). Oxford
62; daughter of N. //. Woburn 125;
son of N. //. Oxford 63. N. and
children R. Denton p. 294 and Rokc-
by p. 647. London, Soane 31 ?
Wilton 163

Nurse (rpo06!) near dying Meleagros A'.
Wilton 61 ; near daughters of Niobe
A'. Wilton 163 ; near Ph.-edra A".
Woburn jS.— N. dedicating a
monument to her charge Liverpool 6

Nuts, boys playing at. A'. Ince [247 a
London, Lansdowne 99. Newby 3

Nymph. Statues: n. 246; "Amynion

INDEX in.

Deepilcne 35; "Anchjrrhue ' Ince
37 ; with urn, different types, Broad-
lands 12. London, Lansdowne 106.
Marburyi3. Wilton 130?; with shell
Richmond 2 a ; sleeping Knole 2.
London, Lansdowne 13. Oxford 165.
Wilton 8. N. of Artemis Marbury
4? Petworth 17? — Reliefs: Nymph
sleeping, on sepulchral monument,
London, Lansdowne 79; tending the
infant Dionysos Woburn 169; and
mountain god near sleeping Endy-
mion Woburn 86 ; and Pan Ince 275 ;
Nymphs and Pan, on Attic reliefs,
Brocklesby no. Oxford 133?; and
Pegasos Porta Aurea p. 190. — Paint-
ing: Head of N. Rossie 161. — Mo-
saic : Nymph C. Howard 65

Oak wreath of Zeus //. Richmond 47

Obelisk of Piazza Navona, Rome, § 4.
Ob. in Circus A". Lowther 45. 46

Odysseus at Skyros R. Cambridge 76.
Woburn 117; and Dolon T. Liver-
pool 24; leading Astyanax to death
ja. Woburn 219 ; and Seirens A'.
Canterbury 45. London, Lansdowne
76. Head of Od. R. Rossie 81 ?

Oedipus and Laios Jf. Liverpool 12?

Oeneus in scene of hunt of Kalydonian
boar i?. Broadlands 21. Richmond
57. Woburn 61 ; present at Melea-
gros' death-bed R. Wilton 61

Oenomaos and Pelops /'. London,
.Soane 38

Okeanos /". Ince 378; in scene of
Helios and Winds A". Ince 221?;
assisting at rape of Persephone A'.
London, Soane 26

Olive tree entwined by sacred snake j?.
London, Lansdowne 59

Olympos and Pan Sf. Petworth 1 2 ?

Omphale Af. Ince 94? London, S.
Kensington 18 !

Omphalos nearstatueofApollo Petworth
5 ; in cauldron of tripod Newby 39

Oriental costume of Anchises A'. Bignor
I

Oriental priest S/. Petw orth 36 ?

Orpheus amongst beasts, playing on
flute /i. Knole 16; amongst fatyrs
R. Ince 290

Orator? St. Wilton 97

Osiris St. Ince 65 ; between two ibises
T. Canterbury 12

Ova in Circus see Eggs

Owl on sepulchral relief Ince 237. 334 ;
adored by an Egyptian A'. Ince [295];
in chariot 3fosaic Brocklesby 43;
attribute of Athen^ St. Newby 23.
R. London, Lansdowne 59. Woburn
148

Oxen getting fodder Mosaic Ince 412;
drawing cart R. Ince 307 ; drawing
plough J?. Canterbury 172. Ince 293 ;
on garment of Ephesian Artemis
London, Soane 3 ; attribute of Sum-
mer R. Ince 221

Pjcdagogos of Meleagros R. Wilton
61 ; of sons of Niobe R. Wilton 163

Paintings, mural, § 29. Brocklesby 36
(Glaukos and Skylla). Oxford 129
(female and Eros). Rossie 161
(Nymph). Wilton 205. P. on mar-
ble, relics of, Cambridge 112. Draw-
ings of Holkham 62. Windsor xiir.
XIX. XXV

Palaestra of boys R. Lowther 48

Pakemon, head of, £r. Wilton 210 !

Pan. Statues : Lowther 8. Margam 8.
Rossie 52; skipping in a vine Rich-
mond 3 ; leaning against pillar Cam-
bridge 4, against trunk Deepdene
27; with attributes of Silvanus
London, S. Kensington 4. Pan
elder and younger C. Howard 1 8.
P. and Daphnis (Olympos) Petworth
12; supporting Dionysos Lowther
63. Newby [3]; and Eros Richmond
3. — AAeads : Cambridge [52. 60].
Rossie 9. 14. Wilton 180? Woburn
[176]; sleeping London, .Soane 9. —
Reliefs : Cambridge 67 ; Pan in grotto
London, Lansdowne 1 5 ; with thorn
in foot Newby 34 ; in Bacchic com-
pany Blenheim 3. Cambridge 31.77.
C. Howard 48. Ince 249. 266. 305.

SUIiJECTS RKPRESENTED.

809

I.onilon, Lansdov.ne 35 ; McUhuish.
Oxford IC9. Richmond 73. Woburn
61 ; wrestling with Eros Cambritlge
31. Newby 34. Richmond 71;
leading the drunken Herakles Ince
27s; and sleeping Nymph Ince 175 ;
and three Nymphs Brocklcsby 1 10.
Cambridge 115. P. with human
legs London, Lansdowne 25. Mask
of Pan on sarcophagi Ince J25. 27S ;
on vase Woburn 10 1. — Mosaic C.
Howard 64

Paniska //. Wilton 180?

I'aniskos in Bacchic company R. Wo-
burn 144

Pantheum signum Br. Richmond

Panther Mosaic Rossie 136; on sepul-
chral monuments R. Ince 324. Wil-
ton 104. 105; hunted R. Ince 252.
307. 393 ; assailed by Centaur R.
Ince 267 ; mangling a horse R. Low-
Iher 43 ; in liacchic scenes R. Blen-
heim 3. Cambridge 31. 72. 77.
Ince 229. 305. ^//>-7-or Liverpool 18.
R. London, Lansdowne 69 ; Soane
28. Newby 34. Richmond i. 73.
Woburn 61. 144 ; drawing chariot of
Dionysos /'. Ince 249. Richmond
75. Woburn 61 ; sitting near Diony-
sos St. Deepdene 20. C. Howard 8.
R. Wilton I ; near Seilenos Wilton
106; drawing chariot of Eros /'.
Lowther 47 ; near Season R. Rossie
76; forming part of Skylla's body
0)!ford 33?; indicating transforma-
tion of Thetis Br. Richmond 37.—
Panther's head at stern of ship A".
London, Lansdowne 76 ; on Irapezo-
phoros R. Rossie 4 1

Paris. Staltus : Easton Neston 7 ?
Hamilton 9? Ince [69. 70]. Lon-
don, Lansdowne 39 ? Lowther 65 ?
Marbur)' 16! Oxford 48 !— /Avk/j;
C. Howard 24? Woburn 129? —
Reliefs: Paris as shepherd, «-iih
apple Ince 163 ; seated Rossie 78 ? ;
listening to Eros London, Soane 30?;
and Helena Marbury 36. Richmond

12?; kneeling on altar /?/■. Liverpoul

Paris, foster father of, St. Wilton 231 !

Parthenon, fragments of, Cambridge 18 !
Chatsworth 5. Deepdene 14 ! Lon-
don, Atkinson? Marbury p. 515

Pasiteles, youth in the style of, St.
Margam 5

Patroklos arming /V. Woburn 219; P.,
corpse of, brought back from battle
R. Woburn 219

Pedestal, round, Oxford 96 — 104? 237?;
triangular, with reliefs, of Athenfe
and Herakles Oxford 24J, Bacchic
Broadlands 11. Newby 8. Wilton
76, of Seasons Woburn 1 73, of Vic-
tories Newby 41. Sec Altar. Cip-
pus. — Pedestals of statues mouhled
Holkham 24. Ince 31 ; of unusual
shape Oxford 32

Pegasos R. C. Howard 67 ; and
Nymphs R. Porta Aurea p. 190

Peirene, nymph of, R. Porta .Aurea p.. 190

Peirithoos in Hales R. Ince 310?

Peleus embracing Thetis Br. Richmoml
37

Peloponnesian art // Ince 15;? Ox-
ford 60 ? R. Wilton 48 ?

Pelops and Oenomaos V. London,
.Soane 38

Penthesileia slain by Achilleus R. Cam-
bridge 76. Richmond 58

Persephone H. Ince 180 ! Rossie 7.
R. London, Soane 19?; raped by
Pluto Brocklesby 66. Holkham 50.
Ince 281. London, Lansdowne 77 ;
.Soane 26; standing near Pluto Ince
306 ; returning from Hades Wilton
137; taking leave from Demetcr
Wilton 137

Perseus and Atheni Mirror Liverpool
[20]

Phallus as symbol averting evil, near
Eros St. Cambridge 5 ; in fan R.
Brocklesby 11. Cambridge 71

Phaedra H. Wilton iic!; and Ilip-
polytos R. Woburn 58

Phoenix warning Achilleus A". Woburn
2iy

Sio

INDEX III.

Hioenix (bird) over flames R. Deepdene
42?

Phosphoros preceding Seleni li. W'o-
burn 86

Phrygia St. Ince 42

Phrygian youth H. Oxford [185] ; K.
Rossie 68 ; to be sacrificed to avenge
Patroklos R. Wobum 219 ; attendant
of Priara Wobum 219. See Trojans

Phrygian cap borne by Winter Ince
245. — See Heads

Pictures see Paintings

Picturesque treatment of scenery R.
Ince 290

Pietas St. C. Howard 2

Pig led to sacrifice R. Oxford 203 ;
olTered to deceased hero R. Oxford
144 ; held by attendant of sacrifice
St. Petworth 53 ; attribute of De-
meter St. Ince I

Plemochoe on cista Cambridge i ; on
sepulchral relief Richmond 67

Plinth, very low, usual in statues
coming from Asia Minor, London,
S. Kensington i. 2. Oxford p. 543

Plough drawn by oxen R. Canterbury
172

Ploughman R. C. Howard 49. Ince

293

Pluto H. London, S. Kensington 5?
Head of PI. R. London, Lansdowne
2. Wobum [182]. PI. raping Per-
sephoni see Persephone ; standing by
Persephone R. Ince 306; present in
scene of Triptolemos R. Wilton 137

Poeas and Herakles St. Wilton 175 !

Polyeuktos, statue of Demosthenes by,
Knole I

Polykleitos, style of: Amazon St. Lon-
don, Lansdowne 83. Oxford 24 ;
Hermes St. London, Lansdowne 35 ;
youth St. Petworth 9. H. Wilton 200

I'olyneikes and Eteokles R. Liverpool 13

Pomegranate T. Canterbury 35

Pomona St. Wilton 131 !

PoJ>a in scenes of sacrifice R. Ince 277.
Wilton 33

Porta Aurea at Constantinople, relief?
of, pp. iSy f.

PORTRAITS.

A. Uncertain wuetiieii Greek
OR Roman.

Male. Statues: nude Oxford 42;
with pallium Wilton -169; seated
Ince 64. 72. — Heads: C. Howard
43. Br. Ince 171; bald C. How-
ard 41. Rossie 138; bearded
London, Lansdowne 102. Oxford
[64]. 80. 82. Petworth 39; beard-
less Oxford [79]; young Ince 103.
London, Lansdowne 103. Oxford
81; boy Ince 202. Oxford 194.
Richmond 9. 28. Rossie 24. 27. —
Reliefs: bearded head Rossie 67;
head of boy Rossie 66

Female. Statues: Brocklesby 108.
Lowther 16. 17. — Heads: Broad-
lands 15. Brocklesby 96. Hough-
ton I. Wobum 172. 191. 208;
girl London, Soane 13. Oxford
77. Rossie 29

Children. Heads : Broadlands 24.
£r. Oxford [195]. Petworth 44.
64. Woburn 63. 115

B. Greek Portraits.

Alexander the Great Si. Marbury 17 !
H. Blenheim i (§ 29). Chatsworlh
I. Ince 178! 179 ! London, Aps-
ley [8]. Newby [24]. Wilton [2] : ;
"dying" Hamilton 3

Alkibiades H. Brocklesby 7? Wilton

[173]!
Agathemeros see Roman Portraits

" Claudius"
Anakreon H. Wilton [15] !
Antinous see Roman Portraits, private
Apollonios of Tyana //. Wilton 94 I

(§27)
Aratos H. Wilton [16] I
Archimedes St. Oxford 43 !
Aristides St. Lowther 104 !
Aristophanes H. Wilton 20 1 35
Aristoteles H. Wilton 7 !
Arsinoe //. Kingston i. Petworth

p. 617, 290? Wilton [127]!

SUBJECTS REl'KliSENTEl).

8ll

PoKTKAirs (Greek) continued :

Asialicus see Roman Portraits " Mo-
dius"

Asklepias Si. Brocklcsby i6

JJereniki H. London, Hamilton;
Lansdowne 37!; gold ring Stan-
more p. 659

Berosos see Uarbarian Portraits

Chrestus Jet" Roman Portraits '" Aure-
lius "

Chrysippos Si. Newby 7 !

Demokritos //. St Ann's Hill 4

Demosthenes St standing Knole i ;
sitting Petworth 19 ! //. Brocklesby
18. Rokeby 16

Diogenes^. I nee 177! Rokeby 16!

Epaniinondas H. I.owther 99 !

Epikuros St. Newby 7 ! H. [Rams-
gate]. Wilton 208 !

Eudamidas, son of Perdikkas, Br.
Richmond 29

Euripides H. Ince 138!

Herakleitos //. Wilton [216] !

Hermarchos N. Brocklesby 70 ! Cam-
bridge 54 !

Hesiodos //. Ince 208?

Homer St. Marbury 18 ! ^. ^r. § 1 7.
20.29.54. Ince 115. 168. Wilton
46. 84? Woburn 35. JR. London,
Lansdowne 2 ; head Lowther 39

Karneades, head of. A'. Holkham 51

Kleopatra H. Petworth 28 ! Wilton
122! A'. Wilton [71]

Lykurgos H. Wobum 67 !

Lysias H. Holkham 48

Lysimachos //. Wilton 226?

Menandros II. Wilton 35. R. Head
Marbury 40

Metrodoros //. Marbury 33? [Rams-
gate.] Wilton 20

Miltiades II. Wilton [219] !

Pherekydes //. Brocklesby 72 !

Philemon H. Wilton [39] !

Philip of Macedon H. Ince 196 '. A'.
Head Cambridge [98] !

Pindar H. Marbury 33 ! Oxford 66 ;
Wilton 65 !

Plato //. Br. Chatsworth 4 ! Lowther
18! Br. Oxford 233! Wiltun 4 !

Portraits (Greek) continued:
Polydeukion Term Oxford 177
Poseidonios //. Ince 174?
Ptolemacos son of Juba //. Woburn

"Ptolemy" //. Ince 204. 211

Prusias //. Wilton [220]!

Pyrrhos//. Wilton [183]!

"Sappho" H. .St Ann's Hill i.
Brocklesby 12. 69. Cambridge 49.
Ince 102. 142. 206. London,
Lansdowne 45. Oxford 59. Wil-
ton 1 28. [227]. A'. Ince 386. Wo-
burn 100

Sokrates //. Ince 137 1 Br. Oxford
232. Wilton 178

Solon //. Wilton 213 !

Sophokles //. Brocklesby 2 ! Wilton
84?

Themistokles H. Wilton 233 !

Theophrastos § 29

Thukydides //. Holkham 26. § 42

" Xenokrates" § 29

UNKNOWN.

Male. Statues: standing Marbury
18. Richmond 44. Newby 7 ;
seated Ince 44. Newby 35. Pel-
worth 15. 19. — Term: Oxford 55.
— Heads: bearded Houghton 1 1. 14.
C. Howard 28. Ince 177. 20S.
Knole 7. London, Lansdowne 95.
Petworth 30. 31? Wilton 7. [15].
84. 208. Wobum 257; beardless
Ince 178. Oxford 66. Rossie 75

Female. Statues: standing Lon-
don, S. Kensington i. 2. Oxford
I — 12. 15. p. 543; seated Oxford
13. — Heads: London, Lansdowne
53? Oxford 59. Richmond 53?;
girl Newby 45
C. Roman Portraits.
I. emperors and imperial family.

Julius Caesar H. Edinburgh,
Ant. Mus. 16. Ince 101! 144!
Knole II ! Lowther 11. 28. 29.69.
Wilton [195]! Wobum 143! A'.
Head Cambridge [93]. Holkham
[46]

8i:

INDEX III.

Portraits (Rohan) <:onliiuu\i:
Augustus Si. C. Howard 14.

Lowther 12. H. Cambridge 62!

Hamilton 4. Ince 89. 147! 154.

Kingston 1 ! Lowther 70. Newby

30. Warwick 5. Wilton i^i !

Woburn 102 !
Livia St. Wilton 116! H. Ince 143!

London, Soane 15! Lowther 30
Agi'ippa H. Oxford 69. Woburn 54?

A'. Head Cambridge [95] !
Marcellus St. Ince 49 ! 11. Knole

10! Osborne 1 ! Wilton 81 !
Octavia H. Wilton 103!; the elder

Wilton 185 !
Julia H. Ince 104! Rokeby 16. Wo-
burn 32 !
C. Caesar H. Ince 182 ! Lowther 22.

Wilton 191 !
L. Caesar H. Ince 183 !
Tiberius St. § 19. London, Lans-

downe 28 ! Margam 2. Wilton

169! H. Lowther 71. Wilton

186. Woburn 108
Drusus, head of, R. Liverpool 15
Antonia H. London, Crichton ; Lans-

downe 46? Wilton 25. Woburn

79?

Germanicus ZT. p. 197. Wilton 123!

Agrippina the elder H. Holkham 34 !
Wilton 141

Caligula H. Br. § 41. Lowiher
72. Richmond 8! Wilton [157.
218]; as a boy Newliy 22. J\,
Head Rossie 61 ?

Drusillajy. Wilton 189!

Caesonia H. Wilton 30 1

Claudius^. Ince 124! 148! Low-
ther 73. Oxford 187? Richmond
[9a]. Woburn 78? Gem Head
Windsor 4

Messalina H. Wilton [12]!

Britannicus H. Brocklesby 106 !

Agrippina (the younger?) St. I'ct-
worth 3 ! H. C. Howard 33.
Lowther 23. K. Head Br. Stan-
more 17

Nero H. Ince ijS. Ketteringham
4. Lowther 74. Rossie 20 ! Wil-

I'OKTRAiTs (Roman) continual:

ton [9J ; young Lowther 31; as
boy Woburn 64 ! R. Head Cam-
bridge [94]

Poppaea H. Wihon 141 !

Galua H. Lowther 32. 75. 76

Otho H. Cambridge 45! C. How-
ard 34. Ince 86! 217 b. Lowther
77. 100. Wilton [206]

ViTELLius jy. Ince 116. Br. Lon-
don, Apsley [7]; Lansdowne 56.
Lowther 33. Richmond [9 a].
Wilton 42. [55. 207]. Woburn

[■49]

\'espasian St. Marbury 24. //.
§ 41. Hamilton j. 6. Ince 139.
Lowther 79. 80. Wilton 67. R.
Head Woburn 33

Titus H. n. 425. Broadlands 18?
Lowther go. Wilton 42 !

Julia Titi f. H. Cambridge 58 ! Holk-
ham 8 ! Petworth p. 617, no. 45

DOMITIAN H. Cambridge 42 ! C.
Howard 35. Ince 125 1 Lowther
91. Oxford 70. Woburn 220 !

Nerva H. Lowther 92

Trajan St. Birmingham i (n. 174).
London, Lansdowne 30 ! ; seated
Ince 72! H. St Ann's Hill 2.
Houghton 4. Ince 172. 215. Low-
ther 34. Warwick 6. Wilton 134.
Woburn 66. 107

Plotina St. London, Lansdowne },t, !

Marciana H. Ince 91 !

Matidia H. Lowther 20. Wilton
[40]! Woburn 181

Hadrian H. Holkham 9? Hough-
ton 12. C. Plouard 36. Ince 84.
London, Lansdowne 60. Mar-
bury [25]. Margam 9. Petworth
p. 617, no. 26? 47. Wilton 6?
Woburn 145? 184. R. Head
Woburn 34

Sabina St. Ince 54 ! London, Lans-
downe 33 ! Marbury 2 1 Wilton
164! H. Margam 11. Petworth
28! Wobum 185

Paulina //. Rokeby 1 0

L. Ursus H. London, Apsley 3

-UnjF.CTS RErUFSENTED.

8>3

I'liHiKAl IS (Ri.MAN) continued:
L. Acliiis //. Camliiiilf;c 65 1 Incc
III! Marbury 30! I'ctworlli 33.
34? Wilton [179]. Wobuni 109
Antinous see Private Personages
Antoninus Pius Si. Deepdene 5!
//. Cambridge 40! Ilolkham 9?
C. Howard 37. Ince 90 1 Lon-
don, Lansdowne 51? 94. Mar-
bury 26. 27. Margara 12. Pet-
worth p. 617, no. 46. Wilton 3.
6. [219]. WoburnSj. 198
Faustina St. n. 32. Newby 13 1; the
elder Ince 51. Wilton id. //.
Lowther 24. Wilton 47 1 ; the elder
Houghton 8. Ince 109. Pet worth
59. 67? p. 617, no. 25. R. Head
Cambridge [99]. Wilton [lib]
Marcus Aurelius St. C. How-
ard 16. Ince 50! London, Lans-
downe 63. Lowther 13! Petworth
56; young London, Lansdowne
34!; Westmacott 6. H. Cam-
bridge 41. Holkham 13. 39.
Houghton 3. Ince 98. 186. Lon-
don, Lansdowne 66. Lowther 21.
Marbury 28. Petworth 35. Wil-
ton II. [58]! Woburn 59. 97. 166;
young Rossie 23? 32. Wilton
142? R. On horseback Wilton
31 1 Head Wilton [11 b]
Faustina the younger //. Ilolkham

35! Ince 189. Wobum 121!
Annius Verus H. Holkham 1 1 ! Wil-
ton 88? iSi!
Loci US Verus St. n. 423. Mar-
gam I. H. Cambridge 63. Holk-
ham 31. 40. Ickworth 2. London,
Apsley 5. Marbury 29. Rich-
mond 63. Rossie 26? Wilton
187! 201
Lucilla H. Newby 42. Osborne 6 ?

Wilton L93]!
COMMODUS St. % 19. London,
Lansdowne 6?; on horseback Z>V.
Stanmore 9. H. Cambridge 64 I
Houghton 6. C. Howard 38.
Ince 122! Marbury 30? Woburn
222; young Houghton 9

POK rn.MTS (RiiMAN) coiitiniieJ :

Marcia //. Wilton i88!

Pertina.x H. Ince 138! Wilton
212I

DiDius Jui.iANUS H. Wilton
1 1 !

Didia Clara St. W'ilton 117! //.
Ince 93. Petworth p. 617, no. 44.
Wilton [168]!

Cl.ODlus Albinus //. Ince 87! Pet-
worth 37? Woburn 145!

Septimius Severus St. Ilolkham
I. H. Houghton 5. C. Howaril
39. Ince 85. London, Apsley
4. Marbury 31. Newby 19. Pet-
worth 36. p. 617, no. 28? W'illon
184. Wobum 77

Julia Domna.S'/. Ince 52! //. Hough-
ton 15. Petworth 46! 65! Wil-
ton 197. [217]?

Caracalla H. Brocklcsby 89.
Ince 217. Newby 17. Rossie 20?
Wilton 69

Geta St. London, Lansdowne 34 !
Newby 4! H. Holkham 38.
C. Howard 40. Lowther 93.
Wilton 88! W^oburn 209?; as a
boy Holkham 1 1 1

Diadumenianus H. Rossie 30! Wo-
burn 150

Elagabalus H. Ince 86!

Julia Paula H. Brocklesby 100

Alexander Severus H. Rossie
33 ; as a boy Wilton 79!

Julia Mammaea St. Holkham [4] I
//. Holkham 10. C. Howard j.
Wilton 30

PuiMENUs //. Oxford 68

GoRDiANUs HI. //. Holkham 43

PuiLlrpus H. Holkham 32

Otacilia H. Rossie 31. Wilton 150!

Philippus the younger H. Incc
217 c?

VoLUSiANUS H. Wilton 63 1

Gallienus //. Holkham 12! Pet-
worth 15?

Saloninus H. Holkham 43 !

Co.nstantinus Magnus//. Wilton

8i4

Portraits (Roman) continued:
CONSTANTIUS II., head of, Gem

Windsor 4 !
Emperor St. Holkham 55?; as
Hercules Ketteringham 1. H.
Ketteringham 3. Rokeby 16. K.
Head Cambridge [100]
Empress St. Birmingham i ; seated
Wilton 117? Woburn 55. H.
Houghton 2. Marbury 34. Pet-
worth 46. 65. Rokeby 16

II. PRIVATE PERSONAGES, ETC.

Antinous St. London, Lansdowne 35 !
Oxford 42! Wilton 13 1; in Egyp-
tian fashion Osborne 3 ; as Gany-
medea Deepdene 8 ; as Vertumnus
Marbury io. H. Knole 6. Lon-
don, Lansdowne 62 I Petworth 58.
Wentworth House. Wilton 200 ! ;
as Dionysos London, Lansdowne
64 ; in Egyptian costume H. Deep-
dene 28. London, Lansdowne 38
L. Antonius St, Holkham 36 (§ 34) !
M. Antonius St. Duncombe 15! Wil-
ton 56!
Q. Aristaeus H. Ince 214
Asinius Pollio H. Wilton [16]!
P. Aurelius Appianus Chrestus Tciin

Oxford 1 78
L. Bmtusiy. Holkham[i4]. C. How-
ard 30! Petworth 31! Wilton 166!
Woburn [153]
M. Brutus St. Newby 16! H. Boyn-
ton 2 (Add.) Knole [4]! Wilton
196! Wobum [154]
Cato (Censorius) H. Wilton 134!
Cato (Uticensis) H. Ince 150! Low-

ther 27. Woburn [89]
Cicero St. Oxford 45 (§ 24)! H. St
Ann's Hill 3. Deepdene [33].
Duncombe 7. C. Howard 32 1
Ince 881 100! London, Apsley i.
Lowther 103. Oxford 239! Wil-
ton [193]! Woburn 183
Claudius Agathemerus, head of, R.

Oxford 155
Corbulo H. Lowther 36
Coriolanus H. Wilton 24 1

Portraits (Roman) continued:
L. Cornelius praetor //. Holkham

53?
Dolabella.ft^ Wilton 51 !
Domitius Ahenobarbus H. C. How-
ard 44 !
"Horatius Consular" H. Wilton

190 I
Horace H. Duncombe 81 Wilton

[192]!
Lucanus H. Wilton [158]!
Maecenas H. Holkham 57!
Marcellus "consul" H. Wilton 202!
Marius St. Oxford 44 (§ 24) ! ; seated

Newby 35I j¥. Ince2i61
M. Modius Asiaticus, head of, Br.
London, Stafford [3]. Br. Oxford
[238]. Wilton [78]
Mummius p. 201
Numa Pompilius H. Wilton 7?
L. Papirius St. London, .Stafford i
Persius H. Wilton 6! Woburn 215!
PompeiusA^. Ince[i49]! 176. Knole

12! Lowther 19 ! Wilton 29!
Porcia A^. Wilton [57]!
Regulus H. Brocklesby 27!
Scipio Africanus the elder St. Easton
Neston il H. C. Howard 31.
Ince 99 ! Warwick 4. Wilton
[213]. Gem Windsor 3?
.Scipio Africanus the younger St.

Easton Neston 2 !
Scipio Asiaticus H. Wilton [no]!
Scipio Nasica H. Broadlands 17 1
" Seneca," usual type H. Br. Ince
2i7e. Holkham [17]. Richmond
30. Wilton [215]: uncommon
type H. Ince no; uncertain type
H. Lowther 35
Sulla H. Holkham 29 (§ 42)? Ince

216 a! Lowther 26!
Terentia H. Wobum 165 !
Vergil H. Rokeby 16!
Vibius Varus H. Wilton [214. 222]!

III. UNKNOWN.

Male. Statues: in pallium Oxford
15. 16. 41. 43. 47. 53. 17,; with
dolphin Wilton 56; in toga Easton

SUBJECTS REPRF.SF.XTF.n.

815

Portraits (Roman) eonlimu-d:

Xeston 5. Hamilton 8. Ilolkhiim
I. 31. 36. C. Ilowaril 13. Ince
48. London, Lansdowne 29.
Lowther 14. Margam i. Oxford
46. Petworth 55. 57; youth with
bulla Newby 4; boy Wilton 22,
in toga praetexta \nce ^d.— Heads :
Holkham 54. Oxford [191]. 192.
Wilton 202 ; bearded Cambridge
[57]- Deepdene 31. Ince 140.
141. Knole 8. Marbury 32. Ox-
ford 67. Petworth 38. p. 617, no.
38. Wobum 174, elderly Wilton
29, young Petworth 40. Wilton
63; beardless Knole 13. Ince
217 a. d. f. London, Lansdowne
44. 47. 48. 54; Soane 16. Low-
ther p. 499. Margam lo. Oxford
190. Wilton [80]. Woburn 220;
elderly Oxford 188. Rossie 21.
Wilton 196. Woburn 139. 143;
young Knole 9. London, Lans-
downe 34. Petworth 71. p. 617,
no. 35. Rossie 19. 22. Wobum
259; boy Broadlands23. C.How-
ard 42. Newby 44. Petworth 63.
Rossie 30. Wilton 79. [8r]. 194.
Woburn 64. — Gem: bald headed,
beardless Windsor 3
Female. Statues: standing Broad-
lands 13. Holkham 33 (§ 42).
C. Howard i. 2. Ince 3. 4. Lon-
don, Lansdowne 49. Oxford 168
— 170. Petworth 2. n. Rich-
mond 54. Rossie 3. Wobum 171;
seated London, Lansdowne 87.
Lowther 15. Oxford 14. Wilton
n6. 117, with attributes of differ-
ent goddesses Lowther 68 ; recum-
bent Oxford 166. [167], on lid of
sarcophagus London, Lansdowne
105. — Heads : Brocklesby [84].
Deepdene 15. Ince 95. 118. Lon-
don, Lansdowne 50. 55 ; Soane 14.
Newby 21. Oxford 74—76. 197
— 200. Petworth 45. 47. Co — 62.
66 — 70. p. 617, no. 24. Rich-
mond 52. Rossie 25. 28. Wilton

Portraits (Roman) continued:

66; girl Holkham 60. Wilton 47.
161
Children. //. Margam 15. Wil-
ton 181; with bulla Petworth 41.
A', on sarcophagus Oxford 115

D. BARnARIAN PoRTRiMTS.
Anacharsis H. Wilton [174]!
lierosos H. Ince 128?
Hefeknecht SI. Wilson 74
Masinissa //. Wilton [182]!
Semiramis H. Wilton [221] !
Sesostris H. Wilton 99!

Poseidon. Statues: Br. Cambridge
104. Holkham 18 (§ 42). Br. Pet-
worth 75. — Heads: Ince 121. Lon-
don, Lansdowne 14? Rossie 86?
Woburn 75.— A-//</j.- Wilton 113!;
seated Ince 25S; head Woburn [t 82]

Praxiteles, style of : Aphrodite St. Low-
ther I ; Diadumenos//. Petworth 24?;
Hermes St. London, Lansdowne 65.
//. Petworth 25?; Satyr St. Pet-
worth 6

Priam visiting Achilleus R. Wobum
219

Priapos Br. Stanmore 8; draped St.
Newby 2 ; term of, in Bacchic scene,
R. Ince 275

Priest, Egyptian, St. Ince 58; of Isis
St. Ince 54

Priestess H. Ince 162!; of Demetcr?
R. Oxford 149; of Isis St. Ince 55.
76?

Prometheus and Nymphs^. Ince [282]!

Pronuba R. Liverpool 22

Proserpina J<"ir Persephoni

Psycho and Eros St. Deepdene 22.
London, Lansdowne 70 ; near Aphro-
ditfe St. Oxford 156

Purse Mosaic Rossie 1 36 ; attribute of
Hermes Br. Richmond 21. R. Ros-
sie 91

Puteal Ince 258? Marbury 36; Corin-
thian puteal § 88

Pyrricha R. London, Lansdowne 15?

Python, vase painter, C. Howard
66

8i6

Quinces gathered by Cupiils A'. Ince
296

Quiver of Apollo combined with attri-
butes of other gods Richmond 25

Rabbit Mosaic Ince 44

Race on Porta Aurea R. p. igo?; in
Circus R. Ince 247. i}~,. 373. Lon-
don, Soane 32. Lowther 45. 56

Rainbow on painted vase C. Howard 66

Rams butting each other R. Oxford
137 ; led to sacrifice R. London, S.
Kensington 14; offered to deceased
hero R. Wilton 17; slain, on allar,
St. Windsor i ; attribute of Hermes
R. Rossie 91 ; on shoulders of Her-
mes St. Wilton 144 ; listening to
Orpheus R. Knole 16; on garment
of Ephesian Artemis London, Soane
3. Wilton 95

Ram's head St. Wilton 167; grasped
by griffin R. Ince 276, by winged
lion R. Marbury 45 ; in Bacchic
scenes R. Cambridge 77 ; symbol
averting evil on candelabra R. Oxford
224. 241. 242; on sepulchral monu-
ments R. Ince 315. 339. 371. Lon-
don, Lansdowne 16. 82. Rossie
46.

Ramses II., sarcophagus of, London,
Soane 39

Raven attacking evil eye R. Wobuin

Relief figure meant to be fastened on

slab Woburn 74
Reliefs see Sepulchral. Votive
Retiarius attacking evil eye R. Woburn

Rhyton in hand of Silvanus Br. Stan-
more 7

Rings of gold Rossie 160. Stanmore p.

659

River-god St. C. Howard 11. R. Ince
337. Mask Ince 132. — i'cc Nile

Roebuck drawing car of Eros R. Low-
ther 47

Roma St. Cambridge 36 ! //. Holkham
44. C. Howard 21

Rose on garment of Ephesian Artemis

London, Soane 3. Wilton 95. See
Flower

Rosette on sepulchral rfeliefs Oxford 141.

1 48. 149. 204 — 206. Richmond 67.

68. Wilton 109
Running match R. Lowther 48

Sacrifice of bull R. Petworth [51]. Wil-
ton 33. Sacrificial procession R. Ince
277. Sacrificial implements R.

Ince 284. Oxford 242; knife .9^. Pet-
worth 53

Samian vessels T. Liverpool p. 428

SARCOPHAGI. Clumber p. 278.

Lowther loi. 102; from Cilicia T.

Liverpool 10; Egyptian London,

Soane 39; made in Rome and found

abroad Cambridge 31. Wilton 137?

Drawings of sarcophagi London,

Eranks I. Windsor I — X
A. Greek Sarcophagi.

Patroklos, Achilleus and Ilektor Wo-
burn 219 (Ephesos)

Boys revelling Oxford 106 — loS.
Richmond 72

Man playing on cithara London,
Soane 23

Without reliefs Edinburgh, Ant. JIus.
6 (Rhodes)

Sarcophagi similar to Greek style
Ince 246 (Meleagros). Woburn 58
(Hippulytus)
B. Roman Sarcoph.\gi.

I. MYTHOLOGICAL.

Mythological scene Oxford 105
Achilleus at Skyros Cambridge 76.
Oxford 218? Woburn 71. ri?;
and Hektor Cambridge 76. Ince
279; and Penthesileia Cambridge
76. Richmond 58
Amazons Oxford H2? see Achilleus
Aphrodite with the apple Ince 262
Bacchic scenes Cambridge 77. Ick-
worth 3? Ince 225. 243. 275.
London, Soane 28. Oxford 109.
no. Rossie 74; Bacchic sacrifice
London, Soane 29 ; Dionysos, in-
fant, tended by Nymphs Woburn

SU BJ KCTS KKPRKSENTED.

817

Sarcophagi (Roman) conliinu-d :

169; ami Ariadne lilenhcim 3; in
triumphal procession Cambriilgesi.
London, Soane 27. Richmond 73.
Woburn 61. 144

Cupid see Eros

Dionysos see Bacchic

Dioskuros Ince 264? 265? Rossic
83

Endymion and Sclcnc \Varwick t.
Woburn 86

Eros Kossie 73 ; asleep Richmond 77.
78 (lid) ; Cupids playing Richmond
76, with arms Oxford 1 13 ; busy at
a stove Rossiesj (lid); surrounding
deceased man Richmond 74

Graces Brocklcsby II. Penrice. Wil-
ton 49

lielios and Winds Ince 221

Hippolytos and Phaedra Woburn
58

Iphigcneia in Tauris Oxford 117?

Klytaemnestra, death of, Ix)ndon,
Soane 3 i ?

Leda and Cupids Ince 378

Medeia about to kill her children Ox-
ford 117?

Meleagros at boar hunt Broadlands
21. Ince 246. Richmond 57.
Woburn 81. no; offering with
Atalante Wilton 129; last adven-
tures Wilton 61

Muses London, Lansdowne 7;. Wo-
burn 148

Nereid.3 on sea-monsters Ince 376.
Richmond 59. Wilton 115; with
arms of Achilleus Wilton 105

Niobc and her children Denton?
London, Soane 31? Wilton 163

Nymphs imploring Ince 282 ; tending
infant Dionysos Woburn 169

Paris as shepherd Ince 263; judgment
of, Ince 262 ; listening to Eros Lon-
don, Soane 30

Pcrsephoni raped Ince 281. London,
Lansdowne 77; Soane 26; return-
ing from Hades Wilton 137

Seasons Ince 224. 245 (lid). Oxford
a 1 7? Rossic 76
M. C.

Sakcopiiagi (Roman) conlinued :
Triptolemos Wilton 137
Troy capturctl Oxford 1 1 1
Winds and Helios Ince 221

II. COMMON LIFE.
Family scene Ince 229
I'emale with torch .ind fruits Wilton

«5

Funeral representation Ince 232 ; de-
ceased man surrounded by Cupids
Richmond 74

Boys playing with nuts Ince [147 a] ;
in palaestra Lowther 48 (lid)

Men quarrelling Rossie 54?

Hunting scenes Ince 244 (lid). 307.
393. Rossie 80

Shepherd Ince 391. Oxford iiS

Eight with barbarians Ince 303

III. ORNAMENTAL AND
SYMUOLICAL.

liusts. Medallions, Medusa's head see
pp. 794. 806

Mask Cambridge 79. Ince 2 19. 2 19 a.
228. 269. 269 a. 270. London,
Lansdowne 80. Lowther 49. Ox-
ford 114. Richmond 79. Wilton
155. Woburn lOj. See Masks
p. S05

Door of grave Ince 39''. Wilton
60

Sea-monsters Ince 253. 367

Griffin see Griffin p. 801

Sphinx see Sphinx p. 821

Liop with bulla Ince 374; tearing a
boar Woburn 104, a horse Ince

Qood shepherd Ince 396 (Christian)
Inscribed Holkham 58. Ince 394.
Ixiwther loS
ly. children's SARCOPHAGI.

Bacchic scenes Ince 266. Newby 6.
Richmond 75 ; played by children
C. Howard 48, by Cupids London,
Mellhuish. Bacchic ma.<iks Ince
278

Cupids Ince 377 ; revelling Knolc I4 :
playing with nuts London, Laii>-

8i8

INDEX III.

Sarcophagi (Roman) continued:

downe 99. Newby 31 ; in palaestra
Lowther 48?; running Rossie 77;
riding Ince •256. 257; racing
Brocklesby 41. Ince 747. ■255.
London, Sonne 32. Lowther 45.
46; driving on chariots drawn by
wild beasts Lowther 47; hunting
Lowther 43; armourers London,
Holland; Lansdowne 98; holding
a shield Wilton 104; and portrait
Oxford 115

Eros and Psyche Lc ndon, Lansdo^vne
100

Seasons Ince 233

Shepherd Knole 17

Portraits Ince 223.398. Oxford 115.
116

Conclamatio Lowther 44

Lion Ince 273

Satyr. Stciliies: standing Holkham 2.
3. Wilton [53]; dancing Br. Cam-
bridge 107; reposing Holkham 15.
16. 19. Marbury 12! Margam 3.
Petworth 8; seated Cambridge 33.
Deepdene 46 ; pouring out wine Pet-
worth 6 ; looking back at his tail Wil-
ton 151; drunken London, Westma-
cott 3 ; treading the krupezion Deep-
dene 40? Marbury 22? Richmond 42 ;
lying on ass Marbury 1 1 ; and goat
Ince 35; and Herakles Wilton 175;
and Hermaphrodites Ince 30. — Term:
^;-.Woburn 128.— Heads : ^n Blen-
heim 2. Broadlands 16. Brocklesby
98. Cambridge [55]. Deepdene i.
Ince 156. 161. 197. 200. Marbury 35.
Osborne i? Oxford 182. [183. 184].
Wilton 114. 180.225. Woburn[i79].
199; with horns Deepdene 40. Ince
184. 185; infant Oxford 65; female
Broadlands 26. — Reliefs: Ince 308.
^;-. Stanmore 16; dancing Broadlands
2. Cambridge 72. Holkham 52.
Marbury 39. Wilton 76; offering
Cambridge 70. Ince 309; revelling
with boys Richmond 72 ; quarrelling
Oxford 234; and goat Marbury 39;

in Bacchic scenes Blenheim 3.
Brocklesby 108 a. Cambridge 31.
77. C. Howard 48, Ince 243. 249.
266. 288. 305. London, Lansdowne
25; .Soane 27. Newby 8. 34. Oxford
109. Richmond I. 75. Wobum 61.
144. 189. 202; extracting thorn from
Pan's foot Newby 34 ; mocking at old
Seilenos Wobum 202 ; and Herakles
PortaAureap. 190?; leading drunken
Herakles Ince 275; listening to Or-
pheus Ince 290; infant Cambridge
31 ; female and child Wilton [loi].
Head Ince 380. Rossie 70. See
Masks p. 805

Scorpion on neckplate of Ephesian Ar-
temis Wilton 95 ; attacking evil ej'e
-A'. Woburn 99

Sea-crab on neckplate of Ephesian
Artemis Wilton 95

Sea-god Ji. Wimbledon 2? H. Ince
123. Mask a. Ince 269. 269 a. Sea-
goddess Mask R. Ince 270?

Sea-monsters R. Ince 376. 378. Lon-
don, Lansdowne 76. Sea-dragon R.
Ince 258. Sea-griffin R. Ince 254.
Sea-hares R. Ince 254. Sea-horses
see Hippocampi. Sea-lion R. Ince
254. Sea-ox R. Lowther 49. Sea-
panthers R. Oxford 1 20. Richmond
59. Sea-stag R. Ince 254. Sea-tiger
R. Ince 253

Seasons represented as boys. Boys
representing Spring and Summer St.
Ince 6. Four boys surrounding Telius
R. Woburn 86; winged R. Ince 245.
Three winged youths, ending in fo-
liage R. Woburn 173. Two winged
youths R. Ince 224; Spring and
Summer Ince 233. One youth R.
Rossie 76 (fragment). — See Horas

Seilenos. Statues: % 19. Cambridge
117; noble type Holkham 19 (§ 42);
with fan Petworth 54; with wine-skin
Newby i ; travesting Herakles Deep-
dene 18; holding the infant Dionysos
Wilton 70 ; supporting Dionysos
Richmond 6 ; seated Cambridge [35].
Deepdene 19; crouching Wilton 62;

SUIiJKCTS KEI'RKSKNIIIU.

819

recumbent Wilton 106; sleeping C.
Howard [10]. — Heads: Br. § 19.
Cambridge 50. 51. C. Howard 1%'.
Ince <)2.—Ke!U/s: Sellenos offering
Cambridge 71. Wilton 76; lying on
ass Wobum 56; in Bacchic company
Broadlands II. Cambridge 31. Ince
243. 288. Newby 34. Woburn 61
(on ass). 144. 201; uncovering a
Maenad Oxford no. Mask of
Seilenos Oxford 220. Rossie 69;
held by boy Wilton 59, by Satyr Ox-
ford 109; on candelabrum Ince 241 ;
on sarcophagi Ince 228. Wilton 155;
on tympanon Newby 34; on vase
Warwick i. W'obum loi. 147

Seiren on sepulchral relief Brocklesby
40. Oxford 1 40. Wilton 109. Sei-
rens and Odysseus Ji. Canterbury 45.
London, Lansdowne 76. Seiren with
fishtail A'. Canterbury 45. Seiren's
feathers on heads of Muses A'. Lon-
don, Lansdowne 75. Woburn 148

Selene as representative of the moon /i.
Wobum 86. Head of S. />. Oxford
134. S. and Endymion Porta Aurea
p. 189. Cambridge 78? Warwick 2.
Woburn 86

Semele in childbed R. Ince 248

Sepulchral amphora, hydria, lekythos
see Amphora, etc.

Sepulchral column Liverpool 9 (Cy-
prus) ; with relief Cambridge 2 1
(Athens)

SEPULCHRAL RELIEFS.
A. Greek.
Men. Brocklesby 13 (Attica). Cam-
bridge 19 (Attica). 28 (Athens)?
Ince 260. London, S. Kensington
1 6 (Smyrna) . Lowther j 7 (Smyrna?).
Oxford 138 (Attica). 154. 206.
Richmond 67 (Smyrna). Rokeby;.
Rossie 79. Wilton 109 (Smyrna?)
Man and horse Cambridge 27 (Pha-
nagoria). Canterbury 140 (Bospo-
ros). Edinburgh, Murray 2. C.
Howard 47. Men on horseback
Brocklesby 42 (Attica). 53 (At-

Sepui.chrai, Reliefs, eontiniud:

tica). Canterbury 136? 149 (Brus-
sa). Edinburgh, Murray i. Ox-
ford 208 (Pergamon). 214 (Ephc-
sos). Poet seated London, Lans-
downe 2 ? Boy and bird Oxford

'52

W0.MEN. Standing Brocklesby 99.
Ketteringham 1 (Aries, Greek?).
Oxford 90 (Smyrna?). 151. 204
(Smyrna?). Richmond 56 (Sicily).
69 (Smyrna?). 70 (Smyrna?).
Rokeby i. Seated Cambridge 25
(Phanagoria). 26 (Phanagoria).
London, Lansdoivne i (Attica) ;
Soane 21. Lowther 37 (Attica).
Marbury 38 (Attica). Oxford 127
(Cyprus). 150. 211. Richmond
68 (Smyrna?). Rokeby 4. Wo-
man and child, standing London,
Stafford 5 ; seated Cambridge 2o
(.\ttica). London, Soane 22. Girl
Woburn 100; with doll Winton i
(Attica); with doves Brocklesby 17
(Paros); with child and dove Rich-
mond 10 (Attica)

Family. Man and wife London,
S. Kensington 15 (Asia M.). Low-
ther 52 (Smyrna). 54 (Smyrna).
Oxford 89 (Smyrna?). 205 (Smyr-
na?). Rokeby 3; and children
Rokeby 2 ; mother and sons Low-
ther 53 (Smyrna)

Shaking hands Brocklesby 31
(Attica). 34 (Megara). 65 (Attica).
67 (Attica). Ill (Megara). Cam-
bridge 22 (Propontis). in (Atti-
ca). Liverpool 6 (Ephesos). 8
(Cyprus). Lowther 56 (Smyrna).
Marbury 37 (Attica). Oxford 140
(Attica). 141 (.Vttica). 147 (Smyr-
na). 148. Wilton 152. Winton 2
(Attica)

Repast Cambridge 18 (Attica).
19. 23. 24 (Patraos). 109. Canter-
bury 137. 172. 174. Ince 261.
Liverpool 7 (Egypt.) London,
Soane 20. Lowther 55 (Smyrna).
58 (Smyrna). Oxford 91—93.
52 2

820

Sepulchral Reliefs, continneJ -.

127 (Cyprus). 139 (Attica). 143.
143. 144 — 146 (Attica). 207 (E-
phesos). Wilton 17. 85

See Akroterion. Amphora. Hy-
dria. Lekythos. .Seiren

B. Roman.
Females Lowther 41. 42. Garlands
Ince 283. Sacrificial implements
Ince 284. Hunting scene Rich-
mond 81. Vintner's life Ince 298.
See Altar. Busts. Cineraria.
Cippi
Roman imitations of Greek sepulchral
reliefs: youth standing Richmond
7 1 ; woman seated Loudon, Lans-
downe 26; man and wife Broad-
lands 22 ; shaking hands Wilton
'25
Sepulchral scene V. Canterbury 116
Sepulchral statues? London, Lans-
downe 70; S. Kensington iS. Low-
ther 15. O.xford 32 ?
Serapis. .SV. seated C. Howard 12.
Ince 38. 39. Londorh, Lansdowne
97 ; Westmacott i ; standing Ricli-
mond 5. £■?-. Stanmore 4. //. §41.
Cambridge 46. Deepdene 9. Ince
15'- 159- Rokeby 13. Rossie 16.
T. Wobum 190. R. Ince 395. 7'.
London, Guildhall
Serpent see Snake

Sheep and shepherd R. Ince 287. 391.
Knole 17. Oxford n8; on sarco-
phagus of Endymion Woburn 86 ;
attribute of Summer R. Ince 221
Shell held by nymph St. Richmond

2 a
Shepherd, the good, R. Ince 396. — Sec

Herdsman. Sheeji
Shield Strangford § 89
Ship of marble Brocklesby 91. Cam-
bridge 13?
Shoes, pointed, borne by Dionysos, R.

London, Lansdowne 58
Sick man sitting St. Richmoml 29
Sickle attiihute of Summer K. Wilton
>.l8

Sign of wineshop A'. Ince 298?

Silvanus St. Inc'e 5. Oxford 163.
Rukeby 8. Br. Stanmore 7. R.
Ince 292. Attributes of S. given to
I'an St. London, S. Kensington 4

Silver used in bronze figures Woburn
128. Goblet of s. Stanmore 20

Simpuhim R. Cambridge 31

Sistrum R. Ince 395

Skamandros R. Ince 279

Skin girt over chiton of Artemis St.
Ince 22

.Skylla St. Oxford 33; and Glaukos P.
Brocklesby 36

.Skyphos attribute of Herakles R. Wo-
burn 144

Sleep and Death? R. Ince 223. See
Eros

Slings see Missiles

Smock borne under chiton in female
statues Oxford 19? Petworth 27.
Wilton 117

Snake in hand of youth Br. Richmond
23; cup full of snakes Oxford 241.
Snake on sepulchral reliefs Ince 298?
O.xford 93. 143. 150; tree entwined
with snake on sepulchral reliefs Cam-
bridge 23. Canterburj' 149. C. How-
ard 47. London, Lansdowne 2 ; S.
Kensington IJ. Oxford 206. 208.
Rokeby i, on votive reliefs Ince
291. London, Lansdowne 59. Pet-
worth 72 ? Snake menacing bird
R. C. Howard 51. London, Lans-
downe 2 ; attacking evil eye R. Wo-
bum 99 ; assailing lion R, Ince 397.
Snake attribute of Apollo St. Pet-
worth 7, on throne of Apollo St.
London, Lansdowne 20, entwining
omphalos St. Newby 39, entwining
tripod R. Richmond 66. Woburn
148 ; attribute of Asklepios R. Wo-
burn 193, entwining tree near Askle-
pios St. Ince 20 ; attribute of Athene
St. Woburn in. R. London, Lans-
downe 59. Wilton 113; of Bonus
Eventus St. Willon i a ; of Demeter
R. Wilton 137 ; of Dionysos St. Wo-
burn 201, in Bacchic cista see Cista;

SUBJECTS KEI'RESENTEIJ.

821

tiee entwined with snake near Mae-
nad 5/. Deepdene 30, near Scilenos
St. Pctworlh 54. Sn. indicatinj;

transformation of Thetis /!r. Rich-
mond 37; drawing car of Triptole-
mos A'. Wilton 137; encircling cor-
nucopiae of Tyche Si. Holkham 41 ;
in cista near Vesta A". Wilton 13 a

Somnus sci Hypnos

Sparrow-hawk, Egyptian, S/. Ince 60

Spear in hand of Satyr Holkham 1 5

Spes see Aphrodite

Sphinx St. Oxford 56. 57; attribute of
Nile Oxford 164; double with one
head C. Howard 51 ; supporting ann
of chair St. Lowther 37 ; on cande-
labrum Oxford 241 ; on crest of hel-
met Deepdene 39. Ince 9. 402 ; on
sepulchral reliefs Holkham 49. Ox-
ford 219; on vase Br. Richmond
31

Spina of Circus ^. Ince 255. Lowther
45- 46

Sj>inano of Capitol copied A'. Ince
290

Spring see Horae. Seasons

Spring, god of, i?. Ince 253

Springing match A*. Lowther 48

Squeezes in wet paper, invention of,
Wilton p. 688 note

Stag Mosaic Rossie 136; hunted li.
Ince 244. 252. 307. Lowther 43 ;
mangled by griffin Ji. Woburn 69 ;
in Bacchic scene Ji. Woburn 144;
on garment of Ephesian Artemis
London, Soane 3

Stag's heads on cinerarium Holkham

49
Stamps on bronze Rossie 147; on tiles

Oxford p. 592
Statue of man on column H. Cambridge

26
Statues composed of two pieces Holk-
ham 24. Oxford I. 168
Steering-paddle attribute of Triton li.

Wilton u 5 ; of Tyche St. Low ther 68.

Rokeby 6. R. London, Soane 25
Steli with Seiren on sepulchral rcl'cf

if. Wilton 109

Stimulus in hand of ploughman A'.

Ince 293
Stork biting lizard A". Wilton 8
Strainer A'. Rossie 34
Straps of leather (i^dyres) St. Petworlh

Strophion Woburn 169

Summer see Horae. Seasons

Sun-dial Easton Neston 4. Ince n8.
Lowther ji

Suovetaurilia not represented K. Ox-
ford 137

Swan sers'ing as support of crouching
Aphrodite St. Richmon<l 40; and \x>y
St. Ince 45 ; on candelabrum O.\ford
234; on sepulchral reliefs Ince 240.
323- 324- 330- 336- 35'

Sweet-meat basket Mosaic Rossie 136

Table with prizes in scene of wrestling-
match R. Ince 335

Tauriskos, sculptor of Hermerotes,
Newby 28

Taurobolia R. Deepdene 42 ?

Taurokathapsia R. Oxford 136

Tellus lying on ground R. Ince 221.
London, Lansdowne 77; Soane 26.
Wilton 137. Woburn 86

Telamon on candelabrum Oxford 241

Tclemachos // Ince 153! R. Head
Rossie 81 1

Telesphoros Br. C. Howard 56

Term in palaestra R. Ince 335 ; on se-
pulchral reliefs Canterbury 137. Ince
260. Oxford 206; on votive relief
Cambridge 67

Terms of Titus, paintings copied Wind-
sor xxv

Tcrpsichori St. Boynton 4! Oxford

31
Terra cottos Cambridge p. 267. Can-
terbury pp. 273 ff. Edinbui^h, Ant.
Mus. p. 298; Murray 3. 4. 7. Hyde
p. 333. Liverpool p. 428. Ox-
ford pp. 572. 592. Pippbrook.
Richmond p. 63r.^6"/. Liverpool 21.
Richmond 14. Woburn 135.— jlAj.ii
Rossie I JO. A'. Brocklesby 29. Liver-
pool 22. (23]. Richmond 15 — 17. 60.

ixnKX III.

Woburn 190. 7^6. i^T, desk with
busts Woburn [182]; lamps London,
Guildhall. Rossie 148. 149; Etrus-
can urns Liverpool 13. Richmond
61; sarcophagus Liverpool lo

Thaleia n. 174. St. Ince 17 !

Theseus St. Ince 43; in Hades J^. Ince
310?

Thessalian horsemen hunting bulls 7!.
Oxford 136

Thestiads slain by Meleagros jR. Wil-
ton 61

Thetis and Peleus Br. Richmond 3 7 ;
entreating Zeus Mosaic Ince 410?

Throne of marble Brocklesby 86. 87.
Oxford 87 ; consecrated to Apollo
London, Lansdowne 20

Thymiaterion before Zeus J?. Wilton 48

Thyrsi forming stem of candelabrum
Woburn 173; as plaything of child
A*. Rokeby 2?

Tiberius, sword of, § 90

Tiger attacking man Ji. London, S.
Kensington 17. Tigress 5/. Ince 77

Tmolos I/. Wilton [90] !

Tombstone of Laios V. Liverpool 27

Tongs with anvil and hammer on se-
pulchral monument A". Woburn 132

Torch in hand of Psyche Si. London,
Lansdowne 70, of priestess Jf. Low-
ther 52. Oxford 149; of unusual
size Ji. Lowther 52 ; near deatii-bed
Jv. Ince 331 ; on sepulchral monument
A'. Oxford 2 1 5

Tortoise Si. Rossie 35; attribute of
Hermes J?. Rossie 91

Town, goddess of, //. Holkham 22 ?

Tragic head London, S. Kensington
18

Trajan's column, drawings of, Windsor
XX. XXIV

Trapezophoron Ince 399. 400. Pet-
worth 49. 50. Rossie 41

Travellers /". Ince 310?

Tree entwined by snake see Snake

Tribune (suggesins) Ji. Rossie 82

Trident entwined with two dolphins A".

Cambridge 86. Holkham 49
Tripod from Delphi C. Howard 53? ;

with four legs Newby 39; of Apollo
/a. London, Lansdowne 69, entwined
with snake see Snake ; on sepulchral
reliefs Cambridge 90. Ince 336.
I^ondon, Lansdowne 17. Wilton
120. 137

Triptolemos ascending his car 7?. Wil-
ton 137

Tritons A'. Ince 254. London, Lans-
downe 27. 76. 104; carrying Nereids
on their backs J?. Wilton 105. 115;
male and female Mosaic C. Howard
65 ; head of li. Rossie 38. Mosaic
Rossie 136. — Female see Mermaid

Triumphal procession Gem Bignor 3

Trojans drawing the Wooden horse, and
killed by Greeks Z". Oxford iii. See
Phrygians

Tropaeon A'. Ince 303 ; in scene of
triumph of Dionysos A. Wobum 144

Trough of granite Wimbledon 4. See
Bath

Trumpeter R. Ince 229. 303

Tyche standing St. Holkham 28. 42.
London, Lansdowne 33. Rokeby 6.
A'. Richmond i ; seated Si. C. How-
ard 3. Ince 7. Oxford 29. Wilton
131? A. London, Lansdowne 1 1 ;
Soane 25 ; with other deities Ji.
Liverpool [23]

Tydeus on Etruscan mirror Cambridge
p. 268

Tympanon on sepulchral relief Oxford
1 50 ; attribute of Demeter St. Ince
I, of Kybele Oxford 131. 132. 159.
St. Richmond 7, of Phrygia St. Ince
42

Tyrrhenian pirates transformed into
dolphins A. London, Lansdowne 76?

Urania St. Ince [99] ! 52 !
Urns see Etruscan

I'aniius sec Fan

Vases of bronze Edinburgh, Murray 6.

Richmond 32 ; of marble Boynton

6. Broadlands 32. 33. Addenda.

r)eepdene 43. Ince 404. Rossie 43.

45. 46. Warwick i. Wilton [i e].

SUBJECTS RKPRESKXTEn.

823

198. Woburn loi. 147; of pu-
mice-stone Wilton [199]- — Draw-
ings of marble vases London, Franks
II. — Sie Cineraria
Vases on Attic sepulchral reliefs see

Amphora. Hydria. Lekythos
Vases, Greek, painted, § 5+. 61. 61. 64.
71. 87 — 89. 92. 94. 97. C. Ashby
pp. 211 f. Addenda. Cambridge p.
267 (Babington and Leake coll.).
Canterbury 4. in. 113. 116. 12.S.
167. Edinburgh, Ant. Mus. p. 298.
Deepdene p. 293 (Hope coll.). C
Howard p. 332. Hyde p. 333. Ince
407. 408. Liverpool 15 — 27. p. 428.
London, Bale; Burlington; So.me
p. 480. Margam 16. 17. Oxford p.
572. Pippbrook. Richmond p. 643.
Rokeby p. 647. Winton p. 721.
Woburn p. 753; with reliefs Canter-
bury 4. Richmond 66; with figures
Liverpool 24
Vats of must let into the ground R.
Ince 298; full of grapes in Bacchic
scene Ji. Woburn 147; on vintner's
sign Ince 298?
Venus see Aphroditi
Vertumnus St. Ince 6 ! Marbury 9?
Vesta enthroned R. Wilton 13 a. See

Hestia
Vestal virgin //. Ince 207 !
Victory see Nike

Vine executed in open work St. Rich-
mond 3
Vintage, genius of, St. Marbury 9
Vintner's occupations R. Ince 298
Vittae see Fillet

Votive reliefs, to Artemis? Edinburgh,
Ant. Mus. 3; to Asklepios Oxford
203?, and Hygieia Brocklcsby 10.
Cambridge 16; to Athene Cambridge
15; to Dioskuros and female? Lon-
don, S. Kensington 14. Petworth 72;
to Eleusinian goddesses? London,
Soane 19; to Herakles Brocklesby
28. Oxford 135; to Hygieia? Pet-
worth 13; to Niki Ince i-p; to
Pan Cambridge 67, and Nymphs
Brocklesby no; to Silvanus Ince

292; to Tyche London, .Soane 25;
to Zeus and Hera Cambridge 68.
Fragments containing worshippers
Brocklesby 14. 39. Cambridge 17.
69. Oxford 88; see Worshippers.
Sacrifice (Roman) Ince 291. Warrior
on chariot Brocklesby 49. Vot. rel.
for disease of ears Woburn 193
Votive statuette of sick man Br. Rich-
mond 29

Warrior St. Ince 80. London, Lans-
downe 6. Oxford 172. Br. Rich-
mond 26. Br. Stanmore 10 — 13.
Gems Rossie 155. 156. //. Edinburgh,
Ant. Mus. 13. Rossie 71. 137

Weights of bronze Liverpool p. 428;
with female head Richmond i

W'heel of Tyche R. London, Soane 25

Whip in hand of Hekatc A'. Wilton

137

Window R. Ince 298?

Winds A'. Ince 221

Wings on head of Wind-god R. Ince
121

Winter see Horae. Se.isons

Wolf, head of, T. Canterbury 27. She-
wolf, Roman, and twins R. Holkham
49. Woburn j6

W'orshippers on Greek votive and se-
pulchral reliefs Brocklesby 10. 14.
39. no. Cambridge 15. 17, 6g.
London, S. Kensington 14. Oxford
88. 144 — 146. 203. Wilton 17

Wreath on Greek sepulchral reliefs,
indicating crowning of the decciscd,
Lowther 19. Oxford 149. 204 — 206.
Richmond67.68. Wilton 109. Wreath
of laurel on pedestal of statue of
Apollo Petworth 5. Wreath and fillet
combined H. London, Lansdowne
61

Wrestling match of Cupids R. Ince 335

Youth. Statues: Cambridge 6. 32. 106.
C. Howard 15; walking Br. Rich-
mond 24 ; leaning against pillar Ox-
ford [174]; sitting on rock Oxford
173; with girlish head Margam 7:

824

INDEX ni.

in style of Pasitclcs Margam 5 ; with
snake Br. Richmond 23; with attri-
butes of different gods Br. Richmond
25. Two youths holding a nude

corjDse Br. Richmond 33 Heads,

ideal: Cambridge [56]. Ince 105.
London, Soane 10. Oxford 71 — 73.
Wihon 200; of victorious youtli sec
Diadumenos. — Relief: youth and
draped female Ince 218. — Vase:
youths revelling Margam 17. — See
Boy

Zeus. Statues: enthroned Marbury i.
Oxford 18; standing Br. Cambridge
103. Holkham 55 (§ 34)? Ince 2,
with eagle Deepdene 5, as giver of
victory Richmond 46?; uncertain type
Duncombe 9. Br. C. Howard 54.' —
Heads: HougViton 10. Ince 127!

London, Lansdowne 14; S. Ken-
sington 5. Newby 14. Oxford 179.
Rokeby 12. Rossie 42? Tunbridge
2. Wilton 229, crowned with oak
Richmond 47. — Reliefs: enthroned
Ince 259. London, S. Kensington
13, with eagle on hand Wilton 48;
standing Richmond [71 a], with cor-
nucopiae London, Lansdowne 74?,
with eagle on hand Wilton 113; and
Hera Cambridge 68. Knole 15?;
and one of his mistresses Wilton [32].
Head T. Woburn [iH^l—Gems: Z.
enthroned, with Nike and cornuco-
piae, Rossie 158; and Giants Rossie
151. Head of Z. Aigiochos Windsor
2. — Mosaics: Z. and Thetis Ince
410? Vase: — Z. and Alkmene C.
Howard 66. Altar of Z. Labraundes
Oxford 201.

IV.

EPIGRAPIIICAL INDEX.

Numbers immediately following the name of a collection are the numbers
of this Catalogue.

I. GREEK INSCRIPTIONS.

C. I. Gr.

Edited.

34 Wilton [48]
38 „ [1]

S71 Oxford 13s
427 .. "73

469 Brocklesby 110
473 .. 29

580 „ S3

6^9 Richmond 69

734 Brocklesby 13

8co Oxford T40

. 805* Cambridge 11 1

825 Oxford 141

8:;g Cambridge ai

926 Wilton 138

928 Oxford 138
9B9 .. "77

1064 Brocklesby 26
1091 I. 65

2033 Cambridge 22
2147 .• =7

3362 ., 34

3750 Oxford 201
3212 „ 136

3219 .. '•ig

3224 Richmond 67

3231 Wilton 109

324s Lowther 52

3253 Richmond 68

Edited, continued:

C. T. Cr. 3254 Oxford 204
3262 „ 150

3283 London, Stafford [3]. Oxford

I238). Wilton [78J

3328 Lowther 53

3333 Oxford 147
3360 „ 152

363s Cambridge is

3683 Oxford 236

6079 Holkham 48 ?

6085 Marbury 40 ?

6138 Petworth 6

6197 Oxford 155
6841 „ 87

68ss^ Richmond 39

6861 Cambridge 1 10

6893 Oxford 311

6894 „ 209

6914 „ IS4

6915 .. 'S3
6962 .. 9'
6966 Cambridge 23
697s Oxford 143
7C02 Richmond to
7023 Oxford 221
7026 Wilton 152

8194 Cambridge, p. 267
8237 „ p. 267

826

Edited, contimted:
C. I. Gr. 8492 C. Howard 66
C. I. A/t. in. iig Oxford 135
751 ., 178
Iriscr. Antigiiiss. 474 Cambridge 13

Unedited.

Brocklesby 67. Canterbury 150. Liverpool 6.
9. JO. 27. [28]. London, Lansdowne j ;
Soane 15; S. Kensington 15. Lowther 54.
55. Marbury 37. 38. Oxford 85. 206. Pet-
worth, p. 606. [Ramsgate.] Richmond
[64]. Rokeby 4. Wilton 125. Wimbledon
I. Winton i. 2. Woburn 148. 193.

Pkoper Names.
'k^aaKavToi Eu/iiSX7rou Oxford 135
' kyaBapxos Marbury 38
'Ayci^ui' Liverpool 10

' k9f]vS. Cambridge 15
'A^ijcaios 'ZwipSovTos Oxford 135
AJffos Wilton [48]
' AKeiTT(l/j.ri Arjij.ay6pov Oxford 150
'AX^|ai/5pos Canterbury 150

'Wkp-tivti C. Howard 66 (vase)

'Afi(piTpvui> C. Howard 66 (vase)

'Avovjiii Oxford 87

'AvTrjvoip C. Howard 66 (vase)
'ATfoXXas Richmond 68
'A7roX\65u/)os Cambridge 23
'AiroXXwi'Ia Ky](piao(pu>VTos Oxford 149
'AttoXXui'ios Petwortli [6]. Wilton 125.

'Att. Mt]i>o4>l\ov Lowther 54
'ApicrWas Zuaifiov Cambridge 24
' ApiardKXaa Brocklesby 65
' Api<TTop.dxi) Winton i
'ApTe/j.idtjpos Oxford 150

" Apreixi^'OpSwalT} Brocklesby 26
' Apre/itj 'A7roXXwi/£ou Lowther 54
'ApxiSa/ios iiKaiv^Tov Oxford 87
" Apxi-TTiros Aluivos Richmond 67
^ A(TK\7]Trids Brocklesby 26
'Ari/ca AdiJL\j/ios Oxford 211
KoicTos AWXXios Talov vlos Oxford 209
4'Xaow'a Avpri\la MaKapla Ince 366
Ai5p7)Xios'E7ra0p65ei7-os Wilton 138
Ai'p^Xios Tyemavds Ince 366
'A(l>(ptLv Winton 2
Aiip. ' A<pi(>iavhi Xptj^Tos Oxford 178

'Aiit C. Howard 66 (vase)

Proper Names, continued:
'AvTujvla HaKepta Wilton 138
Bias iUveKparovs Lowther 55
Boi/TraXos iiroiei Ince [30]
rXai/K^T?)! Oxford 1 38
AacreiJs? Cambridge 27
AT]p.ay6pat Oxford 150
AjjjaoKXijs Lowther 52
AioOLjpa NLKrj(p6pov Oxford 141
Aiovvaios Aiovvjiov tou MTjTpoowpov Wil-
ton 109

ALOfVffos dy\a6iiop<f>oi /3aKxei5''wp |a>'-
BoKipijvos Wilton [i]
AioipavTos ALofpdi^rov Oxford 153. 154
Altay Richmond 67
AoKt^os Cambridge no
'E?ra0po5iTos Liverpool 9
'E7r^Koi;pos [Ramsgate]
'EiriKTijcris 'Ocdcrou dvydr-qp Richmond

69
"Ep/xijTj-os Oxford 147
"Epp-oyivrii Rokeby 4. "Epp.. eTol-qac
ilii Cambridge p. 267 (vase)
"Eo-rfa Wimbledon i
Eu5a/ii5as IlepSiKxa Richmond 29
Ei/WxpiTos Cambridge 1 1 1
EiiicX^a Wilton 125
Eu/cXiSas VivkKiSov Cambridge 2 r
EuVri/ievos 'A<TKKT]TndSr]S Brocklesby 26
EiVoXttos Oxford 135
EuxopiiTTos Woburn 148

Zeiis C. Howard 66 (vase). Wilton
[48]. Z. Aa^paifSris Oxford 201.
Z. )UyiaT0i Oxford 201
Zwirupos TiUTTvpov Wimbledon I
Zui<ri/ios Cambridge 24
"By-qpioiv Cambridge 22

'Hpa/cX^s Cambridge p. 267 (vase).
Oxford 135
'HpoSoTos SkkXX/ui'os Liverpool 6
'HpoSupos Oxford 211
'Hpo^aV™ T/;xu»'os Lowther 52
QeoyvaiTTOs London, Soane 15
&eo(p[\rj Marbury 37
Get/SoTos Lowther 53. Oxford 147
'Ik4(T..os Oxford 147

'leris Oxford 87
"Iwr Brocklesby 65
KaXXiTTTTos Oxford 206

KPICRAnilCAI, INDEX.

827

Proper Names, continued:
KaXXicTTos Canterbury lyo
Katrf. 'AiroWwftoy Oxford 135
Vt.o.<^\.(jiijiv Urocklcshy 65
Kj;(^t{ro0u)i' Oxford 149
K\au5ia''A0(^fii' Winton 1
KXauSios 'A7a9:7/ifpo! Oxford 155

Aa/3paw57)5 Zeus Oxford 2or

Adi(os) Liverpool 27 (vase)
Ao^^is Oxford in
Acu/caroy KaXX/iriroi/ Oxford 206

Aip-wls Kovpt) Brocklesby 16
AvtTi^XV Ti^oycirovos Oxford 1 40
Movt^cos Ai(»ou Wilton [48]
MapiSi'a IluXXa Woburn 193
Jilifivoiv Oxford 204
M^i-avS/jos M.irbury 40
Mevf/fparTjs BiatTos Lowther 55
Mei/Aaos MeveXdou Oxford 91
Mtjwj'i^iXos Lowther 54
MjjTp/i Oxford 147
M7)Tpo5upos[Kam.sgate]. XVilton 109. M.

' ATToWoSiipov Cambridge 23
M. MoSios 'A<naTiK6t London, Stafford

[3]. Oxford [238]. Wilton [78]
Md<rxos Brocklesby 67
MvpToKt) Oxford 155
NeiKT)^p(s Brocklesby 26
NiK7)(Tios Oxford 143
NiKi)0i5/)os Oxford 141. 152
'Ofajos Richmond 69
'Oo-ipit Oxford 87
OuijSios Bcip7os Oxford 236
IlaTri'os HacriKpdrovs Cambridge 1 10
llaffivpaT))! Cambridge no
JlepSkxas Richmond 29
nXdruu Richmond [64]
IlXojrXeitt Liverpool 10
llo\v5(VKlai> ^pojs Oxford 177
llovirtjta Xpuadptoif Lowther 54
lIoTrXJa see IlXoirXeia
lloirideos Ar!iJj>K\clovi Lowther J2
Uvdav lypa<p( C. Howard 66 (vase)
-avUoKkoi London, S. Kensington 15
'^KvWlav Liverpool 6
'ZiuKplas Marbury 37
i;o0i'Xo! Oxford I40
^TTf f 5uv Oxford 1 35
Zra. liepajriuii' Oxford 135

Proi'ER Names, continued:

^v^krj'Epnoyhov Kokeby 4

SwKpdTTjt Ince 164

j^uKTTpaTos Lowther 53

Tfi/tiSfO! Aaffcio! Cambridge 27

Ti>aios Brocklesby 28

Ti^op^TT) Richmond 10

TtnaydTuf Oxford 140

Ti'^ui' Lowther 52

TXijffwi" 6 Nfdpxou Liverpool [28] (vase)

Tphwi' Cambridge p. 267 (vase)

TiJxa Lowther 53
•I'ofoSiKTj'AYaffdpxoi' Marbury 38
♦ijXurtfra London, Soane 15
^•(Xo'AiroXXdSo! Richmond 68
*iXaiVeT05 Oxford 87
iCKipyvpos Wilton 152
^tXiara M^/acovos Oxford 204
^i\b5T}fj.o% ^oiplXov Oxford 140
Xaipluf Mu - - Brocklesby 13
XaxpvMwi' iiroi-qatv Cambridge p. 267

(vase)
XpiiffiTrTTos Liverpool 27 (vase)
.tp kX^s noXrap- - Brocklesby 53

- - /?r;rou Brocklesby 1 10

- - Xaos Cambridge 15

- - piuv (ypaipi pie Cambridge 13

- ■oiUvov% OvyaTTip London, Lansdowne

AHMOTIKA.
^A\'jjTr€KTJ6cf Brocklesby no
'A<f>i5i'dios Marbury 37
'EXetiffis Oxford 135. 'EXcvalyios Ox-
ford 135
'ErriKTj^fffios Cambridge 22
KTj<f>iatevs Oxford 135
KvOripioi Richmond 69
SlopoSumos Oxford 178
iK MfXiT^wi/ Winton 2
STfipiciJt Oxford 135
<p\vcvi Brocklesby i to
XoXX«(5))s Oxford 140

EGXIKA.

'AvTiox'irffii Oxford 141

AokZ/uojo x*'i''='io'"A''<' Cambridge no

'Eppnovevs Cambridge 21

' HpaK\(iirTj]5 Broadlands 18

828

EGNIKA, continued:
Xlarpa Cambridge 2^
■Pu^aaios Oxford 209

Miscellaneous.
i.yaXlw.Tav eUSvei Kal Teiy-al Oxford 1 7 7
"AiSas oXa/iTreTOS Oxford 147. 'AISijs

Rokeby 4
avTiKoafxriTtveiv Oxford 135
api. Oxford 177

ri ii 'ApeLov Trayov jSouXj) Oxford 1 78
Paaeis Oxford 177
6 Aa/Mis Wimbledon i
6 STJIJ.OS Lowther 52. Oxford 149. 204.

Richmond 67. 68. Wilton 109
* = 57]jf dpLoL Oxford 221
Aioy^veiov Oxford 178
eUdve! ayaXp^aTuv Oxford 177
iTi.6(ixaTa twv p.op(pi2v Oxford 177
tvxapKiTeiv Wilton [48]
eiixapiiTTTjpiof Mov depairelas Woburn

193
(<f>7t§oi Oxford 135
"S.\iinov Oxford 155
OpTjvov fiamiv iror/iois Rokeby 4
Upeis Oxford 87
icpr)l! Wobum 1 93
larplis /ieOoSiKos London, Stafford [3].

Oxford [238]. Wilton [78]
(i)Ti7p Oxford 155. I. iJ.e865ov Tpoara-

TTjs sec iaTp6s
Kalaapos (plffKO! Oxford 22 r
KoXal Brocklesby 65 (Attica)
KOfffJirp-eveiv Oxford 135
KO(r/J.yTr]s Oxford 178
veiKi) 7) (v 'EXeuo-em Oxford 135
vIkti TrevTa,9\ov TraiBos Wilton [48]
oIkos Wimbledon i
jraiSoTpiliai' Oxford 135
irivTad\ov iraiSos Wilton [48]
■q wdKis Oxford 221
wpii deQv Kal ^puuv Oxford 177

Miscellaneous, continual :
aoKppovuTTri^ Oxford 135
TavpoKaSa^l/luv rip-ipa ^' Oxford 136
T/)o06? Liverpool 6
viroaTTj/jLara Oxford 177
(pldKot KaiVapos Oxford 221
XaptoTTj/Jtoc Oxford 87
■xXaivav irepl aixivi. 6i(r8(U Oxford 178
(iriov 6epavr(las eixapt<^rripiov Woburn

193

GRAMMATICAL : yivtdB-rfi = kyiVTi6i\v
Brocklesby 26 (Megara). 5eKaTos =
hf.Ki.5a.% Cambridge 27 (Crimea).
i(jiC.it = iTriiie Oxford 147 (Smyrna).
aiv r]pwiiii' = /led' Tfpuijiv Cambridge 2 7
(Crimea). Doric forms in Ionian in-
scriptions "Aiiav, floras, ri^av, jMVpo-
fiiva Oxford 147. 'AiSa Rokeby 4
METRICAL. 'Op6ualii( — ■ — ) Brocklesby
26 (Megara). Heptameter dactylicus
Brocklesby 26 (Megara). Verses :
'k^ojxivri Kovpriv Krp-mSa Brocklesby

26 (Kaibel 870)
Aeii')7 yit' di 'Al5i]i> Rokeby 4
'E:'8d5e yrj Karix'i- Cambridge iio

(Kaibel 666)
'Ectoe riv Trdcrijs Cambridge in

(Kaibel 49)
'HXu^es ovK d/3oaTos Lowther 53 (Kai-
bel 240)
'l7)T))p fiedoSov London, Stafford [3].
Oxford [238]. Wilton [78] (Kai-
bel 306)
KXauSios iTjT^p Oxford 155 (Kaibel
554) 01 dtaffoi uvvofxaiiioi Oxford
147 (Kaibel 241)
"OffT-is Kal rims dp.1 O.xford 178 (Kai-
bel 114)
TafffSe TTOT €v Tptodoa Oxford 177
- - ffa^O/j-a TO vep fiaKapuv Woburn

148
Cf. MAjTu^ty Aiofvaov Wilton [i]

1 riCKAriHCAI. INDKX.

829

II. ROMAN INSCRIPTIONS.

Edited.

C I I. III. 435 0.iford SM

VI. I. 322 Liverpool 2

593 Incc 392

787 Wilton 13.1

1326 London, Apslcy 1

M3" >. .. 3

9503 Broadlands 7

3174 London, Soane 35

3715 Incc 292

VII. 218 Cambridge 1 18
/ R. N. S489 „ 81

3589 Marbury 36

Gruter 601, 4 Broadlands 30

613, 9 London, Lansdowne t6

675. I ,. ,. =4

1576. »3 » .> 71

9S8, 4 Holkham 49

101 1, 3 Marbury 36

MlRATORl 884, 8 C. Howard 50

996, 9 Ince240?

999, 6 Rossie 91

1144, 7 WobumiSfiA

"53, 5 Ince 356

1164, 8 „ 362

1198,10 „ 3ifi

1213, 9 cf. Cambridge 84

1224, 3 Ince 239

1252, 1
"73. ■•

330
322

1296, 10 Wilton 198

1316, n Cambridge 89

1319, 8 Richmond 80?

1327, M Cambridge 83

1476, 10 Ince 313
1524, I „ 318
>539f 6 M 326
•545. 9 .. [319!
■598, II „ 3SO»
'^34. 10 „ 354
1650.13 „ 311!
l6<J5. 4 .. 317
i«95. 3 .. 312
1698. 9 >. 320?
.. 14 .. 235'
'705. " .. 3^4'
'738, 9 „ 350?
■745. 15 .. =31

Orelli- » 1303 Rossie[io3]

Henze.s) 1450 Marbury 36

6570 Cambridge 81

Not Edited in these Collections.

Broadlands 8. Brocklesby (A. Cambridge
82 — 87. 90. 91. Canterbury 44- 45 135.
Ueepdcne (10]. HoUcham 50 58. C.

Unedited, continued:

Howard 51. 53. Ince 37. 150. 314. 338 —
330. 333. 334. 336 — 238. 345. 391. 303. 307
3M- 3"5- 3"- 3»3— 329- 33>— 349- 351—353
355- 357— 3'i- 363- 365- 367—37'. Live]
pool It. p. 428. London, Holland; Lans-
downe 15. 17. 18. 23. 73. 76. 79. 82.
loi ; StafTord I. Lowthcr 48. 59 — 61. 66.
108. Marbury 42. Oxford 200. 203.
312. Richmond 81. Rossie 147. Wilton
[teJ.[i2o.] Woburn 104. 132. [182.] 186 c

Mythological.
Aiichyrrhoe Incc 37
Apollo Marbury [42]
Fatus proffistiiias London, Lansdowne

Fors London, Lansdowne 23

Fortiina London, Lansdowne 23; Soane

^5
Hercules (invicius) Liverpool i ; sane I us

Lowlher 66
Suno S. Ji/. y?. Rossie [103]
Sil(vanus) sal(ularis) Ince 291
Vesla Wilton 13 a

Proper Names.
Abaseanlus C. Howard 52
Aceia P.f. Tullia Cambridge 83
AcellUis Ince [230]
P. Aelius Annius London, Soane 2 5
r. Aelius Lueanus Ince 2 38
T. Aelius Maximus Lowthcr 48
/*. Aelius Aug. lib. Taurus C. Howard
50

Aelia Postumia verna Cambridge 87
lun. Aelia Rufina Lowther 48
Aemilia Cantria Ince [315]
Emilianus Ince 229
C. Amaryllis Ince [336]
Amianthus C Howard 51
Aninia Astcrio Ince 361
Annia Trophime Wilton 198
Antesforus Ince 114
/. Antonius Felix Ince 3J4

Anionia Gemella Ince 34I
T. Aquilius T. I. Pelorus Broadlands
8

T. F. Qu. Aristaeus Incc 2 14

830

Roman Proper Names, conliuued:
Arronia Rcstituta Ince 226
Asclepiadcs Ince 226
Astectiis Aug. lib. Ince 332
Athaierus Inoi Canterbury 135
Atilia Phlegiisa Ince 359
Audax Broadlands 7
Q. Avilins C.f. Lanvbius Oxford 209
L. Avillant. Deepdene [10]
L. Aureliiis Aufidi\anus 7^ Ince 245
Aureluis Ingmmis Ince 347
Aur(eluis) lobiniis Ince 368
T. Aurelius Mansuetinus Ince 238
Aur(elius) Martinus Ince 368
Aurelius Philander Ince 347
M. Aur{elius) 31. f. Vivinacius Cam-
bridge 82

Aitrelia Hermioiie Ince 347
Aurelia Nice Cambridge 82
P. Betilienus Cures Rossie lOi
M. Burrius Abascantus Ince 318
M.Burrius Alticus (Atticus) Ince 31S.

Addenda
M.Burrius Curius (Pulpus) Ince 318.

Addenda
31. Burrius Felix Ince 3 1 8
31. Burrius Hermes Ince 318
M. Burrius Vannius (Puncilus) Ince
318. Addenda

Burria [P/iil]umcn[e] Ince 318. Ad-
denda
Celius Cartas Ince 292
Celius Hermes Ince 292
Cn.Caesius Atticus Cambridge 89
L. Calidius Buculus Ince 346

Calidius Eleuthr. I. Cambridge 90
Q. Calidius Pathus Cambridge 90

Calidia Vrsil[l]a Ince 346
C. Calpurnius Coguitus Holkham 50
Calpurnia Chrysis Holkham 50
Calpurnia Felicitas Woburn 1S6
T. Camdenius Eutuches Ince 3 1 1

Cantenius Ince 229
M. Caricnitis Felix London, Lansdowne

24
M. Carienius M. f. Venustus London,
Lansdowne 24

Carienia Venusta London, Lans-
downe 24

Roman Proper Names, continued:
Carpus Rossie loi
Carvilia Ince 358
L. Casperius Epaphroditus Richmond

80
M. Cato Ince 150
31. Chri. 97 Canterbury 44
Nero Clavdivs Caesar Avgvstvs

London, Lansdowne 15
Ti. Claudius Epaphra Ince 349

Claud{ius Esychus) Liverpool 2
Ti. Claudius Hermias Cambridge 88
Claudius Hyllus London, Lans-
downe 71
Ti. Claudius Onesimus Actes lib. Ince

345
31. Claudius Paetus Ince 360
Ti. Claudius Quir. Plains Ince [240]
Claudius Rufianus Broadlands 7
Claudius Kufus Ince 236
Ti. Claudius Riifus Ince 365
T. Claudius Secund\f]a Ince 307

Claudius Tauriscus London, Lans-
downe 71
(Claudia) Acte Ince 345
Claudia Felicula Ince 345
Claudia Aug. I. Quieta Ince [240]
31. Clodius Castor Ince 356

Cicero London, Apsley i
31. Cocceius Crescens Rossie 91
Cocceia Auge Rossie 91
Caelia Amanda London, Lans-
downe 82
Corn(elius) Autolycus London, Lans-
downe lOI
L. Cornelius Clemens Ince 330
L. Cornelius lason Ince 330
P. Cornelius laso London, Lansdowne
16

Corn[elius) Theseus London, Lans-
downe 101
Cornelia Briscis London, Lans-
downe lOI
Cornelia L. I. Staphyle Ince 327
Crescens London, Apsley 3
Cracale Ince 358
Q. Curiatius Zosimus Ince 3 1 7

Curtilius Woburn 1 86
P. Curtius P. P. I. Rossie 147

KriOKArillCAI. INOKX.

831

Roman I'koi'EK Namf.s, continuid:
Diadiimemis Ince 341
Domitia Nice Ince 338
ElHiis Rufus S. I. JIabra Ince [314]
P. Etrilius Abascanliis Ince 331
Etrilia Daiiae Ince 33 1
Euphrosyne Ince [315]
Eiiscbia Woburn 10+
Eutychianiis Lowther 66
FaHiis lusttis Oxford 212
Fabhts Rujinus Oxford i\z
Faustina Woburn 104
Filicio Cambridge 85
Festiva Ince 362
T. Flavius Aug. I. Sedatus Antoiiinia-

nus London, Lansdowne 16
T. Flavius Eutactus Ince 340
Z". Flavins Sp. f. Etttyches Ince 325
T. Flabius Hermes Holkham j8

Flavius Libanus Ince 370
T. Flavius Aug. I. Onesimus Broad-
lands 30
T. Fla{vius) Verus Aug. lib. Camhndge

81
T. Flavius Vi/alianus Broadlands 30
T. Flavius Aug. 1. Zmaragdus Ince

[323]

Flavia Marccllina Oxford 2 14

Flavia Nysa Ince 332

Flavia Onesime Ince 362

Flavia Peloris Ince 325

Flavia Folia Ince 340

Flavia Zoe Rossie loi

Fulvanus Arch. Ince [32S]
Q. Gellius Chrestus Lowther 60

[Ge]rmani[cvs]? Brocklesby 66

Graeccia P. f. Rufa Marbury 36
C. Hclvius Hermes Ince 226
M. Herennius Woburn [182]
AI. Herennius Felix Ince 359
Hennes Ince 339. 362

Hoi\atius) Flace(iis) Wilton [i e]
Hyla Ince 349

C. F. Q. Ian. Carpis Ince [336]
L. Julius Bassus Ince 338
Ti. lulius Epityiuhanus Ince 369
Ti. lulius Heraclides London, Lans-
downe 79
C. lulius J/irmaiseus Ince 312

Roman I'Koi'r.R Names, continued:
C. /ul(ius) lulianus Ince [337]
lulius Mareiaiius Ince 368
C. lulius Speratus Ince 361
L. lulius Vrsus Servianus see Vrsus
Julia Ince [337]
Julia Anthis Cambridge 88
Julia Cypare Cambridge 89
Julia Meroe Ince [334]
M. Junius Anoptes Marbury 43
C. Jun(ius) Bit, Canterbury 45
J/. Junius JVioebus Marbury 43
A/. Junius Satyr(us) Marbury 44
Jun(ia) Aelia Rufitta Lowther 48
Junia Artemisia Marbury 43
Junia Corinlltis Marbury 44
Junia M.f. Marcdla Ince 237
Junia Juniae I. Privata Ince 237
Q. C. Q. F. Justus Ince [336]
Q. Laelius Primigenius Ince 320
Laelia Charis Ince 330
iMppia Prima Ince [235]
jMrcia Rufina Ince 355
M.J^pidius Epigonus Ince 313

Lepidia M. D. I. Privata Ince 313
Q. Lieinius Felix Ince 353
P. Livius Fortunalus Ince [319]
Livia P.J'. Ince [319]
Meurinius AJaximinus Richmond
81
L. Alacrius [E]uelpistus London, lans-
downe 18
L. AJallius L. I. Clemens Ince [364]

A/allia Mifpro/ula Ince [364]
L. Alanlius Philargyrus Ince 355

[J/a]«/;<i Secunda DeejKlene [to]
L. A/are ius Paealus Oxford 202
Alecilia Balbilla Rossie [103]
G. Messis Lowther 108

Alettius Messor Broadlands 7
Q. Alilasius Al. J'. Ant. Bassus Ince

3^9
C. AJinicius Gelasinus Ince 335

Aludasena Trophime Wilton 13a
C. Afunius Serenus Ince i-;i
P. Murrius Epigonus C. Howard 52
Alurria Procula C. Howard 52
Nedimus London, Lanstlowne 1 7
Xicostratus Neronis Claudi Caesa-

83^

INDEX IV.

Roman Proper Names, continueJ :
ris Aiigusti London, Lansdowne
IS
Nuceriiuis Rossie loi
Numisia Primigenia Ince 321
M. Nittonius Ceh-r Deepdene [10]
C. Octavins Firiiuis Ince [228]
Octavia Thetis Cambridge 8 1
Onesimus Ince 346
C. Oppitis Eutyches Ince 363
Oppia Thishe Ince 363
Paetiis Ince 360
L. Papirius London, Stafford i
L. Passienitis Doryphorns Ince 302

Passknius Sabinus Ince 302
Z. Passunius Saturniniis Ince 302

Passienia Cemdia Ince 302
T. Peducams T. I. Faiistus Ince 316
T. Peducaeus T. f. Quit: Flortis Ince

316
T. Peducaetis T. f. Quir. Sei'erus Ince
3-6

Pcducaea T. I. Daphne Ince 316
Perpernea M. L. I. Prima Ince [364]
C. Pelilius Bassiis Ince 329

Petroniiis Hcdychrus Holkham 49
Pclronia T\r'\ophime Holkham 49
Phengis Richmond 80
Philetus Cambridge 86
Pholoe Ince 234
Picaria Tertia Liverpool 1 1
L. Pituanius Salvus London, Lans-
downe 23
A. Plautius Callus Ince 339
Plolia Flora Broadlands 8
Cn. Pompcius Cn. f. lushis Ince 324
L. Pompeius L.filiiis Fabia Marcellinus
Oxford 214

Pompeia Cattdlina Oxford 214
Pompeia Margaris Cambridge 85
Pompon(ia) Diana ? Marbury 36
Pomponia Thallusa Rossie loi
M. Porcius Cato see M. Cato
Portia lusta Ince [228]
Primigenius Rossie loi
Prisca Attgjistor. Ince 341
Probus int. Claudias Wilton [120]
Publicia Tertia Liverpool 1 1
Publilius Scvcrianus Ince 322

Roman Proper Names, continued .
T. Publiliu[s] Scfcrianu(s) Ince 322

Publilia Spes Oxford 2 1 5
C. Pttpius Firmintts Wilton 1 3 a
A. Quintilius A. [lib.) Era... London,
I^ansdowne 73

[Quinl]ilia A. I. Seciinda London,
Lansdovvne 73
P. Quintius Eutyches Ince 367
Quintius Eutychianus Ince 367
Quintia Victoria Ince 367
A'asinia Ctypte Ince 234

Rodope Oxford 202
Kubrius Rev.ilis Ince [343]
Rubria Prima Albaiiicsis Ince [343]
Riifinus L.f. Ince [334]
Q. Rufinus Ince 368
/'. Rufinus Bphcstion Ince 370
M. Rujrius M. I. Phila[del]phus Ince
[350J

Ruf[r]ia M. I. Iucun(da) Ince [350]
Rutilia Romana Ince [333]
M.Saburius Ligus Fal. Albintimili
Ince 357

Saenia Longina Brocklesby 66
Seia Helis Rossie 102
Sempronitis 01. V'rbanus Ince [314]
Scmpronia P. I. Auge Ince [3 14]
L. Sentius L. I. Coccetus Cambridge
[84]

Sei-enus Aug. lib. London, Lans-
downe 82
Seslilia D. I. Sccunda Ince 231
/.. Scverinus L. f. Ince 352
Severina Procilla Ince 352
Sextius P. f. Cornelius Pal. Kepti-
lianus London, Holland
Siiilyche London, Lansdowne 1 7
T. Stat ill us Hermes Cambridge 91
Slatilia Philaenis Cambridge 91
Sulpicia Cauni Oxford [200]

Telcsphorus Primitivus Ince 346
M. Terentius Stephani libertus Resli-
tutus Ince 358

Terpolia Procilla P. f. London, Lans-
downe 79
Trebcllius Onesimus Woburn 132
Trebellius Restitutus Woburn 132
Trcbcllia Anipliata Woburn 1 3 2

El'KlKArillCAl. IXKKX.

833

Roman Proper Names, contiiuieJ:
Trebellia Melpomene Woburn 131
Trophima London, Lansdowne 100
M. T'ullius Cicero see Cicero
C. Tiitilius Riifiinis Ince 307
P. Valerius Cerialis Woburn iS6
Valeria /as{e) Cambridge 90
Valeria Maxima Cambridge 90
Valeria M.f. Prisca Ince 339
Valeria P. f. Valeriana\io\mxn 186
Verria Nicopolis Ince 369
Vestalis Aug. lib. Rossie gt
Vicanus London, Lansdowne 1 7
M. Vigellius Logus C. Howard 51
Vigellia Anthusa C. Howard j i
Vigellia lucutida C. Howard ji
M. Vlpius Aug, lib. Clemens Marbury

4,";

M. Vlpius Eutyches Ince 348

M. Vlpius Aug. lib. Fortuuatus Cam-
bridge 86

j\[. Vlpius Philocalus Ince 34S

M. Vlpius Vestalis Rossie 9 1

Vlpia M. f. Ctemenlina Marbury

45
Vlpia Plusias Caml)ridge 86
Vlpia Sabina Ince 370
Q. Volusius Venis AVilton 198
L. Vrsus COS. ///London, Apsley 3
Zotice London, Lansdowne 100

GEOGRArHICAL.

Aelia Gall(ica) Cambridge 82

Albintimilium Ince 357

Bessus Ince 368

Lamtidum Rossie [103]. l.anviuus

Oxford ?09
Noricus Ince ^38
Palmyrenus London, Soane 25
Kama Oxford 214. horli Vohisiaiii

Broadlands 8

Tkhivs.

.Arn{jcnsis) Ince 329
Pallia Oxford 214 (Ephesos)
Pal(enia) Ince 357 (Rome?)
Palialina) London, Holland
Quir(iiia) Ince [240]. 316 (Rome)
M. C.

Military.

ctnlurio leg. VII C. Ince 238
/;■/. coll. pri. I.igur. Oxford 214
mil. clio. Ill pr. Broadlands 7
mil. colt, lllpr. [coll.] Q. Kujiiii Ince

368
mil. coh. IV pr. Cambridge 82
coll. V pr. Ince 357
miles coh. VII pr. 3 C. I'.tili liassi

Ince 329
coh. mil. urb. XII Ince [337]
cq. singularis Incc 368
eq. sing. Aug. London, Soane 25
eq. sing. Aug. tur. Lucaniaua Incc

238
e%'oc. Aug. sal. /'/ Ince 357

Civil.

a cognitioiiibus Ince 332

decifiriarum) ////Broadlands 30

<lec[uria) Favoris Broadlands 30

tiiiuistraior Broadlands 30

siu(erdos) Rossie [103]

a sacris London, Lansdowne 82

lab(ularius) rat(ionis) aquarioi\um)
Cambridge 8 1

vestiariusdc hor(tis) Voliisianis Broad-
lands 8

Miscellaneous.

aedes lunonis S. M. R. Laniivii
Rossie [103]

ara et monimcntum London, Lans-
downe 79

calc(ei) Rossie [103]

c[l]ypeus Rossie [103]

conmaniplus Broadlands 7

hast{a) Rossie [103]

Iwrti Volusiani Broadlands 8

imago Ince 214

nolite doleie, parcn/cs, hoc faciuitdiim
full Cambridge [84]

no^'are Rossie [103]

scululus Rossie [103]

secundus licrcs Ince 368

Iriclia Ince 370

vcriia Candirirlge 87. Ince 234

834

Grammatical. Notae.

co}iquo = cum quo Cambridge 87 D London, Lansdowne 76

idem-eidan (dat.) Holkham 49 //. M. [//. N.] S. Oxford 214

sinae=sine Ince 369 S. P. S. C. P. S. Marbury 36

sivi—siii Camhriige 87 K London, Lansdowne 73

III. ETRUSCAN INSCRIPTIONS.

Amphiare Cambridge p. 268
Atrste Cambridge p. 268
Fcrse Liverpool [20]
Itlenef\f\a Liverpool [20]
Tiite Liverpool [20]

IV. EGYPTIAN INSCRIPTIONS.

See Rokcby p. 647. Wilton 74

CAMBRIDGE: I'RINTED BV C. J. CLAY, M.A. & SON, AT THE UNIVERSITY PRESS.

/;/ the Press.

THE ARCHITECTURAL HISTORY

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OF CAMBRIDGE,

By the late Professor Wii.i.is, M.A. With numerous Maps, Plans and
Illustrations, continued to the present time and edited by John Willis
Clark, M.A., fonncrly Fellow of Trinity College.

LECTURES ON THE TYPES OF GREEK
COINS.

I5y Percy Gardner, M.A., Disney Professor of Archa:ology. With
Plates. Royal 4to.

ESSAYS ON THE ART OF PHEIDIAS.

By C. Waldstein, M.A. Phil. D., Reader in Classical Arch.-cology in the
University of Cambridge. Royal 8vo. With Illustrations.

Now Ready.
THE BACCHAE OF EURIPIDES.

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Sandys, M.A., Fellow and Tutor of St John's College, Cambridge, and
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